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ALIEN NATIUNM 

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BEAUTY & THE BEAST 
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:"- NUMBER "#( 

V . "^ NOVEMBER 19iD 
TH^y^lE^tE FICTION UNIVEIf' 

^: "■■-.- DEPARTMEN 



MEDIUM COOL 

As an adult, Whoopi Goldberg 
still dreams of fantasy worlds 

16 FIRST MAN IN THE MOON 

SF hero Edward Judd remembers i 
hISTOle in genre classics 

24 A STUDY IN CHIMP 

smiling, Kim Hunter endured life 
on a "Planet of the Apes" 

29 NEWCOMER WITH A BADGE 

in an "Alien Nation," Eric 
Pierpoint still investigates 

33 ALIEN CHILD 

Lauren woodland is growing up 
in a strange world: Hollywood 

34 CORCAN'S APPRENTICE 

A Childhood ago. Brian Tochi 
began his own "Star Trek" 

37 FLASH EFFECT 

The fastest man alive zooms on— 
and quickly off?— CBS-TV 

45 FEMALE TERMINATOR TIME 

This killer android ticks away to 
the "Eve of Destruction" 




COMMUNICATIONS 
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71 CLASSIFIEDS 

72 BRIDGE 

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53 DAYS OF THE BEAST 

George R.R. Martin produced 
enchanting Tunnelworld tales 

59 HIS GREATEST ADVENTURES 

Filmmaker John Guillermin had 
a swinging time in the jungle 

64 THEY WROTE FOR GIANTS 

The scribes recall chronicling 
adventures in the big time 



Kim Hunter 

recalls life on the 

Planet of the Apes 

on page 24. 



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NOVEMBER 1990 #160 

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OF TREK FUTURES 

...1 had read that Paramount Pictures' tentative 
plans for Sicir Trek 17 Include a story that 
would present the Starfleet Academy days of 
the classic crew recast with younger actors, and 
cameos by William Shatner, Leonard Nimoy. 
etc. would serve to introduce their old alma 
mater memories. I have only one question: Did 
Kirk and Speck meet at the Academy? If one 
follows Srar Trek hLstory. although mostly fan 
generated and unofficial, the answer is no. I, 
like some fans, may be willing to let this slide, 
(willing suspension of disbelief and such) but 
surely Paramount could come up with some- 
thing slightly more original and challenging? 

If they go through with Sicirfleer Academy. 
what's next on the boards? Slar Trek VII: The 
Wrath of Reruns'! Yes -fans, this is your most 
frightening nightmare come true. Shatner. 
Nimoy and DeForest Kelley reprise their cameo 
roles and introduce old episodes of Trek classic. 
("Gee. Spock," McCoy leases, "remember when 
your brain was stolen? That was really hilari- 
ous!") Although this is a worst ca.se scenario, 
we all know that anything is possible from 
Paramount. If a green light is given to Star 
Trek VI. why not stick with the original actors, 
hire a great moviemaking team, and really give 
fans everywhere a final big blowout? I think 
it's the least we deserve. After it's all over and 
the celebrating has quieted, we can at last turn 
our complete attention to Star Trek: The Ne.\t 
Generation and enjoy it along with our classic 
memories. 

Robert Young 

408 South Main Street 

DuBois. PA 15801 

By now everyone knows that Star Trek VI will 
involve the original cast (not younger replace- 
ments) in a new adventure to coincide with 
Trek's 25th Anniversary, which will also herald 
the "original and challenging" concept of a Star 
Trek opera. 



...I have only a few things to say about 
ST:TNG'f: season finale episode ("The Best of 
Both Worlds"). Wow. fantastic, incredible! 
But. having said that. I must also issue a caveat: 
Don't trivialize the Borg like you did Spock et 
al. in Star Trek II. As you may recall, several 
important events occurred in 57"//. including 
Spock's death, the Genesis Project and the in- 
troduction of David Marcus and Lt. Saavik. The 
events and characters introduced in this movie 
could have had a major impact on the entire Star 
Trek universe (and provided many, many stories 



in the future), but instead, the powers that be 
at Paramount decided to "tie up all the loose 
ends" in Trek III by resurrecting Spock. killing 
off Kirk's son and discarding the Genesis 
Project (as worthless) by having the results 
tainted because of questionable scientific meth- 
ods. 

As currently portrayed, the Borg also have 
the potential to have the same profound impact 
on ST:TNG and should also provide the source 
or many new storylines. Now that you've given 
the SF world its own "Who shot J.R." type of 
cliffhanger. don't give us your version of 
"Bobby Ewing in the shower" by killing off 
Picard. then resurrecting him in a future 
episode. Do not trivialize the events in "The 
Best of Both Worlds" by having Q or some 
other entity "miraculously" save the Enterprise 
and the Federation. The solution to the problem 
of the Borg should originate with the 
Federation (i.e.. the Enterprise) and/or the al- 
liance between the Federation and the Klingon 
Empire. I, like many other fans, eagerly await 
your resolution to these and other fascinating 
questions. 

Ronald G. Robinson 

Address Withheld 



...We propose three possible resolutions to the 
conflict between the Federation and the Borg in 
the finale of Star Trek: The Ne.vt Generation: 
I . The concentrated burst of power through 



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the main deflector dish causes a chain reaction 
that will gradually destroy the Borg ship. In 
the meantime, we discover that the Borg-Picard, 
Locutus, is a replica. An Away Team save the 
real Picard. but Commander Shelby is killed. 

2. Q intervenes, neutralizes the Borg ship 
and frees Picard in exchange for the highest of- 
fice in the Federation. However. Q's superiors 
in the Continuum intervene. Commander Shelby 
leaves and the situation remains the same on the 
Enrerprise. 

3. The burst of power destroys the Borg 
ship along with Captain Picard. Riker becomes 
captain of the Enterprise and Shelby becomes 
first officer. Picard does remain a regular in the 
series as an entity like Q. He assists the 
Enterprise and the Federation in many future 
episodes. 

T., S.. K.& B. Szyszko 
Milwaukee, WI 

...I'm intrigued by the fact that so many ad- 
vanced races in the Star Trek world have been 
defeated by the Borg, and these same races still 
don't know much about — or are not concerned 
with — humans such as Terrans, or even the 
Federation itself The Borg seems to command 
attention for some reason, well known among 
the more elite beings such as Q. Is there more 
to them than just power? 

Each ship is a huge hunk of artificial mind 
that adapts to opposing offenses and defenses so 
rapidly that it's largely unstoppable, shooting 
about the universe at incredible speed, destroy- 
ing life forms because it finds them useless or 
insignificant. Its interest has been primarily 
technology. And I ask myself: Who created this 
robotic thing? Then. I remember asking myself 
this question several times before, but not in 



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reference to the Borg. 

In Star Trek: the Motion Picture, the 
Enterprise learned that an old Voyager space- 
craft that had disappeared in a black hole many 
years ago must have had arrived at the other side 
of the universe and was discovered by a race of 
robots, who are centralized on some unknown 
planet literally smothered under a carpet of 
"living" computers. Voyager was enhanced 
technologically by this robot race and was sent 
back toward its place of origin to find its cre- 
ator. The result was V'Ger: a gigantic core of 
computer hardware surrounded by a masking 
cloud, an entity with incredible destructive 
power. 

Could there be some connection between the 
Borg and those who made the V'Ger entity? 
There was yet another gigantic hostile robot 
force, featured in "The Doomsday Machine" 
episode of the original series, which looked like 
a giant cornucopia. The question remains: Who 
made it and why? The Doomsday Machine took 
Commodore Matt Decker's life, which probably 
is what prompted his son, Willard Decker, to 
later sacrifice himself to the same sort of en- 
emy, V'Ger — that and Will's obsession with 
the Deltan whose life V'Ger claimed. I'm kind 
of hoping there will be some visit by whatever 
creature V'Ger evolved into when Will Decker 
was absorbed, a being with Will's human com- 
passions intact that would want to at least re- 
veal some sort of answer to the mystery of his 
robot civilization, an answer that would con- 
nect the Doomsday Machine, V'Ger and the 
Borg in some way. If there need be a connection. 

There is a theory presented in Star Trek 
stating that the reason so many humanoids exist 
throughout the galaxy is that there was a single 
race of humanoids nicknamed the Preservers 
many millions of years ago who flocked 
through the universe seeding themselves on ev- 
ery livable planet they passed (as noted in "The 
Paradise Syndrome"). They must have been very 
powerful and very intelligent to have accom- 
plished such a task. The only reason I mention 
this is because I've noticed the Borg are not en- 
tirely robotic. Within the giant iron-infested 
cubes are humanoid workers altered and con- 
trolled by robotic attachments, thus the term 
"Borg" from the word "Cyborg" denoting a 
half human-half robot being. 

It's possible these are what's left of a race 
that the Borg encountered and enslaved to carry 
out additional functions with greater ease, but 
if that's the case, then how did the Borg func- 
tion previously? It is more plausible to assume 
this humanoid race had created the computer 
system — maybe to prevent their own natural 
extinction — and the system overtook them and 
now controls them like puppets. (This situation 
is familiar. The alien race indigenous to the or- 
ganic derelict in ALIEN, represented by "the 
Gunner", may have genetically engineered those 
parasitic animals to be used as weapons, like 
germ warfare, but this warrior organism was 
too hostile and overthrew its creator,) 

Yet that Borg ship is one heck of a smart 
and powerful computer system, and I assume 
there's not just one but a whole fleet of them. 
For beings intelligent enough to develop such 
artificiality, they were all pretty careless to let 
themselves fall victim. Wouldn't it be interest- 
ing if those Borg cyborgs are what remains of 
the original Preservers, and that the Preservers 
had happened upon the same robot planet which 
the Voyager spacecraft had encountered, and that 
a similar incident had occurred that almost hap- 
pened to Earth with V'Ger? The Preservers 
were sucked of their intelliaence and subse- 




quently used as puppets by a suddenly-enhanced 
computer system whose philosophies were en- 
couraged by the planet's living computers. 

Well, food for thought, 

Christopher Haviland 

4727 Walden Circle #156 

Orlando, FL 32811 

...I've long thought the crew and guest stars of 
ST:TNG were far too human. However, this 
past third season, which has by far been the 
best, has shown me something far more disturb- 
ing in real-life terms. With the exception of 
the actor who played Worf's brother, it seems 
to me that all of the actors chosen as guest 
stars have been white. 

The original series was a first, with 
William Marshall and France Nuyen getting 
major parts. In the first season of ST:TNC. 
there was an all-black planet. Now, it seems 
that the casting director for Logan' s (all-white) 
Run has taken over. In the show's finest hour, I 
am quite sad. 

Warren Drummond 

120-43 194th Street 

Queens, NY 11412 

STAR GAZING 

...I really enjoyed STARLOG #151. It was 
good to see an article on Gary Conway. Most of 

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your articles are on Star Trek. Alien Nation and 
other popular SF TV and movies. I liked the in- 
sight about Gary Conway's career and how they 
produced Land of the Giants for TV. 1 hope to 
see more stories on Conway and the Giants cast. 
I would like to urge Irwin Allen to authorize a 
Land of the Giants reunion movie. I am sure 
Allen is aware of the market. Disney had great 
success with Honey. I Shrunk the Kids. If not a 
theatrical film, a TV movie will help ABC in 
the ratings war. Giants has always been my sec- 
ond all-time TV show favorite after Trek. Keep 
up the good work and you will always have me 
as a reader. 

Kevin Tellegen 

2542 SE lllth 

Portland, OR 97266 

... Our Man Coburn" in issue #151 held sev- 
eral surprises and disappointments for me. To 
my mind. James Coburn is in a league with 
Clint Eastwood and Charles Bronson. a laconic 
group who seldom grant interviews, and when 
they do, you don't expect one to show up in 
STARLOG. After all. he's not an ex-B movie 
actor, nor a marginal celebrity and habitue of 
the quiz show circuit, nor a young hopeful 
waiting for that break into the big time. So. it 
was something of a shock and -makes you wonder 
if even Robert DeNiro is out of reach. If I was 
the editor, I would have made one change, how- 
ever. I would have placed Coburn on the cover 
instead of the two leads from Alien Nation be- 
cause I feel he is a stronger selling point, and it 
would have been a nice gesture of respect. The 
picture at the beginning of the article or the one 
forming the frontispiece of the magazine would 
have served more than adequately. Perhaps the 
idea was toyed with? Another surprise was the 



short length of the article. I don't know what 
the circumstances were, but it seems Coburn 
wanted primarily to promote his The Mists of 
Avalon project. I don't object to that, but he 
was less than expansive on everything else. He 
had few words for his past work, not even 
commenting on a borderline speculative movie 
of his. The President's Analyst, a film as 
tremendous in its own way as The Great 
Escape and The /Magnificent Seven. And anec- 
dotes are apparently not a pastime despite hav- 
ing chummed around with Steve McQueen, 
Robert Vaughn and Bruce Lee. All in all, not 
really a bad piece, but it could have had more 
depth. 

Al Christensen 

Tacoma, WA 

...In regard to your interview with Michele 
Scarabelli (#155), I think that it is indeed a 
shame that there wasn't enough time for charac- 
ter development (and what with the scripts al- 
ready written and all) on the second Airwotf 
series. 

Although I don't find the second series' 
episodes anywhere as enjoyable as the original 
episodes, I feel that the 24-episode series did 
pick up strength in its final 10 episodes. The 
episodes "Rouge Warrior," "The Key" and 
"The Golden One" (which, if I remember cor- 
rectly, focused on Jo being set up by an old boy 
friend) probably come closest to capturing the 
essence of the original series. 

Lloyde A. Grant 

420 N. Oakley 

Saginaw, MI 48602 

...I thought I would write and just say that 
STARLOG #153 was really excellent! Seeing 




Quantum Leap on the cover, plus the great in- 
terview with Scott Bakula was well worth the 
money. Quantum Leap is one of the best pro- 
grams on television, and it's great to see some 
good coverage. 

Also, that was a great profile of David 
Frankham. As a devoted Trekker. his episode has 
always been a favorite. Plus, being a Disney fan 
as well, meeting the voice of Tibbs from 101 
Dalmations was long overdue! 

Now, how about a profile on Betty Lou 
Gerson, the voice of Cruella deVille, who. in- 
cidentally, appeared in the original The Fly? 

Keep up the good work, guys! 

Janice Howard 

P.O. Box 38 

Dryden. VA 24243 






SALUTES 




SUNDAY -OCT. 28. 1990 

COLM MEANEY 

TRANSPORTER CH/EF O'BRIEN 

THE HOTEL SYRACUSE 
' SYRACUSE SQUARE 
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NFOUR OF A HOOD 
ext year, you may not be able to tell 
your Hood without an official Robin 
scorecard. There are no less than four new 
Robin Hood films in preparation, all ready 
to explore Sherwood Forest. 

First, there's 20th Century Fox's long- 
planned Adventures of Robin Hood, 
scripted by Mark Allen Smith. It was to 
have been directed by genre vet John 
{Predator) McTiernan, who will now 
executive produce. Hood is not yet cast, but 
shooting is scheduled to start October 22 in 
Northern California. Originally intended 
as a theatrical release, the Robin race 
caused this project to mutate into a three- 
hour TV movie. 

Next, there's Tri-Star's Robin Hood 
from the thirtysomething team of Ed 
Zwick & Marshall Herskovitz. Susan Shill- 
iday scripted this "serious" adventure 
which Herskovitz, her husband, will direct 
on location in England and Wales. 
Production designer is Norman Garwood 
of Princess Bride fame. Batman's Chris 
Kenny will serve as executive producer. 
Shooting was supposed to start September 
3. Their Hood is also To Be Announced. 

And then, look for Morgan Creek's 
"Raiders-Wke" Prince of Thieves, scripted 




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by producers Pen (The Kiss) Densham and 
John Watson and directed by Kevin 
Reynolds at England's Sheppenon Studios, 
beginning September 3. Production de- 
signer is John (Ragtime) Graysmark 
teamed with art director Alan (Empire 
Strikes Back) Tompkins and set decorator 
Peter (Batman) Young. Kevin Costner — 
who worked with director Reynolds on 
Fandango — plays Hood. Christian 
(Heathers) Slater is Will Scarlet. Warner 
Bros, will release this one in spring '91. 

All three Hoods have either some 
scripted fantasy elements or some genre 
vets involved, making them of interest to 
SF fans. 

But what does this do to the vague pos- 
sibility of a movie version of Richard 
Carpenter's Robin of Sherwood TV series 
starring Jason Connery (see STARLOG 
#151)? Well, at presstime, the Hoodmania 
has apparently jump-started this TV spin- 
off, which is now supposed to begin 
shooting shortly as well for a '91 release. 

Errata: Of course, we can't tell our 
Kevins apart without a scorecard either. 
Medialog in STARLOG #158 reported 
that Kevin Meaney would take over as 
Uncle Buck (from John Candy) in the new 
CBS sitcom. True enough. However, 
Meaney was identified as Willow's mini- 
warrior. Oops! That wasn't Meaney in 
Willow but another comic/actor. Kevin 
Pollak. interviewed in STARLOG #134. 
STARLOG regrets the Kevin-konfusion. 

Genre People: Jim Cameron is now 
working on Terminator 2: Judgment Day 
but his next film, for 20th Century Fox, 
will be the semi-genre The Minds of Billy 
Milligan, based on the novel by Daniel 
Keyes (whose "Flowers for Algernon" be- 
came Charly). Cameron has formed a new 
production entity. Lightstorm. in partner- 
ship with Carolco and will be making 



Errol Flynn takes aim, but at which new 
Robin Hood? 

movies primarily for it in the future. 
Among them: Skimmers, a supernatural 
love story scripted by Bill (Nightmare on 
Elm Street 5) Wisher, who co-scripted the 
Terminator sequel with Cameron. 

Composer Danny Elfman (STARLOG 
#147) is scoring the new Flash TV series. 

Wes Craven will direct yet another 
thriller. Cold Eye. 

Leonard Nimoy's next project is The 
Promise. It's the story of Mel Mermelstein, 
the Auschwitz survivor living in the US 
who took a neo-Nazi group to court to 
prove that Nazi Germany's genocidal 
Holocaust was, judicially speaking, fact. 
Nimoy will star and co-executive produce 
the TV movie, now filming for airing on 
TNT in January. Joseph (Colossus: The 
Forbin Project) Sargent (STARLOG#121) 
is directing. 

Updates: Gil Gerard's new environ- 
mental adventure TV series, known for a 
while as The Green Team, has a new title: 
E.A.R.T.H. Force. CBS has only ordered six 
episodes of the show. 

John Fasano has scripted what appar- 
ently is the shooting script of ALIEN III. 

At presstime, FBC had officially asked 
Ken Johnson to develop two Alien Nation 
TV movie scripts. If Fox likes the finished 
scripts, they would be produced for early 
'91 airing in FBC's Monday night movie 
slot. 

Genre TV: If adventure has a name, 
it's still Indiana Jones. And he will be re- 
turning — as promised here months ago — 
albeit on a slightly smaller screen. It's 
uncertain whether River Phoenix would 
star and it's probable this will be a live ac- 
tion, not an animated series, but Lucasfilm 
TV has agreed to develop a brand new TV 
series for ABC, for a fall 1991 debut. And 
it is, if you haven't guessed. Young Indiana 
Jones. 

— David McDonnell 



FILM FANTASY 
CALENDAR 

I 11 dates are extremely subject to 
I change. Movies deemed especially 
tentative are denoted by asterisks. Changes 
are reported in Medialog "Updates." 

October: Fantasia, Night of the Living 
Dead, Gate II*, Highway to Hell, Two Evil 
Eyes, Graveyard Shift, Eve of Destruction*, 
Scanners II: The New Order. 

November: The Neverending Story II, 
Child's Play 2, The Rescuers Down 
Under, Robot Jo.x, Little Nemo. 

Christmas: Rock-A-Doodle*, Predator 
2, Highlander 2: The Quickening*, Misery, 
Almost an Angel, Awakenings, Jacob' s 
Ladder, Valkenvania, Edward Scissor- 
hands. 

February: Nightmare on Elm Street 6. 



8 STARLOG/November 1990 



Photo; Peter Sorel 






i{ahtas^ fij9edium 



Given a ghost of a chance, Whoopi Goldberg will keep on trekking. 

^m^^^m^^^^^,^^^^^^^ By MARC SHAPIRO ^^^—^^— i^— ^^— ^— ^— 



Whoopi Goldberg is fresh off a 20- 
plus hour flight across time 
zones from Europe. She's stiff 
from too long in too cramped a seat and 
bleary-eyed from not enough sleep and too 
many in-flight movies. You don"t expect 
somebody suffering from that kind of 
jetlag to be funny. 

But Whoopi Goldberg is more than 
willing to give laughter a shot. 

"I recently became a grandmother, but 
it has been a pretty short role. When the 
baby's wet. I hand her back to my daugh- 
ter. One lip lock with a woman and you end 
up having to explain it for the next five 
years." 

The comic's reference to lip locks has 
its origin in her first motion picture, 
Steven Spielberg's The Color Purple. 
She's using that example today to jok- 
ingly illustrate why the scene in her latest 
film Ghost, where Patrick Swayze enters 



Goldberg's character of Oda Mae Brown as 
a prelude to physically comforting Demi 
Moore, was not played as Whoopi. 

"There was no reason for me to do a 
love scene with Demi," explains 
Goldberg. "Demi closing her eyes and see- 
ing Patrick plays much better. It's very 
well done. But I know more than one per- 
son who was very nervous when they saw 
my hand creep in there," she chuckles. 

Goldberg is here to discuss director 
Jerry Zucker's romantic/comedy/thriller 
Ghost. But the actress, whose disheveled 
dreadlocks and fingers wrapped loosely 
around a cigarette make for a picture of ex- 
haustion, seems perfectly happy to put 
Ghost aside to discuss her ongoing stint as 
the philosophical barkeep Guinan of Star 
Trek: The Ne.xt Generation. 

"I've been a Trekkie from way back," 
she enthuses. "The only time you ever saw 
black people in the future was on Star Trek. 



I would tune in on Thursday nights and it 
was like heaven." 

But, despite having some clout and a 
fan's pedigree, Goldberg remembers that it 
wasn't easy getting aboard the U.S.S. 
Enterprise. 

"I asked to do the show," she explains. 
"As a matter of fact, I asked twice. The first 
time I sent a message to LeVar Burton ask- 
ing him to tell the producers that I really 
would like to be on the show. He got the 
message to the producers and they said, 
'Yeah, right. Whoopi wants to do Star 
TrekV" 

Goldberg took the hint. For a while. 

"One of the cast members left the show 
and I heard about it, so I approached the 
show's producers again and said, 'Listen. I 

MARC SHAPIRO, STARLOGs West Coast 
Correspondent, profiled Joel Schumacher 
in issue #158. 

STARLOG/Novemher 1990 9 




"There was no reason for me to do a love scene with Demi Moore," says 
Goldberg. "Demi closing her eyes and seeing Patrick Swayze plays much better.' 



don't know if you know it, but I've been 
trying for a long time now to get on this 
show.' They said LeVar had told them 
about it and that they thought he was kid- 
ding. I told them I can't do all the episodes 
but I would like to do some of them. 'Can I 
have the job?' So, they built this bar and 
created this character and hopefully, I'll be 
able to join them as long as the show is on 
the air." 

Goldberg, who will be back for the 
fourth season, claims it only takes a day or 
two for her to film her scenes. As for her 
character, Goldberg describes her as "kind 
of like Yoda. She's very old and wise." 

10 SlAKLOCINovemhei- 1990 



She notes that she has an excellent 
working relationship with the entire Next 
Generation cast but has a particular fond- 
ness for Patrick Stewart. 

"Patrick Stewart doesn't have much 
hair," cackles Goldberg, "but, boy, is that 
man sexy!" 

Really Psychic 

The actress returns to Ghost, a film 
whose supernatural elements make it a def- 
inite out-of-this world item. Again, it was 
something Goldberg wanted to do very 
badly. And once again, her pleas initially 
fell on deaf ears. 




"I really felt that I was the actor of 
choice for the part of Oda Mae," recalls 
Goldberg. "Unfortunately, I wasn't their 
first choice. I told the producers and direc- 
tor that I really wanted to do this, but they 
said they wanted to get somebody who 
wasn't as well-known. I said, OK, but 
you're not going to find anybody better for 
this than me.' 

"Six months later, I got a phone call 
saying, 'You know, we couldn't find any- 
body better for this than you. So, do you 
want to do it?' I said yeah." 

Goldberg, in Ghost, plays a fraudulent 
psychic who discovers, to her horror, that 
she does have the power to contact 
departed spirits. She's instrumental in 
helping the spectre of deceased Sam Wheat 
(Swayze) protect his former love Molly 
Jensen (Moore) from earthly threats. 

"This was a fun, big and broad role for 
me," Goldberg remarks. "The character is 
similar in tone to things I've done before, 
but because of the story's nature, it al- 
lowed me to do things that I hadn't felt 



iT-' rTriOftflffelHr'r'lifctt '• ' • >'i 




comfortable doing before. Much of that 
has to do with the characters I'm playing 
off of. They're different, and so, I've been 
able to open up to them in a way I haven't 
been able to do before." 

Goldberg says that "some of Oda Mae is 
me; the stuff I felt would bring her out a lit- 
tle more. 

"It's basically a very good match be- 
tween the script and myself. You would 
have to look real hard at this movie to see 
the seams — especially when it comes to 
playing this character. Oda Mae has been 
running this con on people for a long time 
when suddenly, she connects with this 
ghost and these other people and, for pos- 
sibly the first time in her life, she begins 
to care. She helps to make them somehow 
better; she grows a bit, but she still has to 
go back to the real world and deal with 
people now that she discovers that she 
really has this power. 

"But it's more than just the seriousness 
that worked for me. What made me laugh 
on paper also made me laugh when we were 



All Next Generation Photos: Copyright 1989, 1990 Paramount Pictures TV 




Tasha Yar (Denise Crosby) and Guinan (Goldberg) have an ill-fated meeting on 
"Yesterday's Enterprise." 



STARLOG/Novemher 1990 11 




making this movie. That was great be- 
cause, even though I wanted the part, I was 
still concerned. I've been in many films 
where the script was great and the film 
stunk. I'm always nervous about whether 
what I'm doing is going to show up well in 
the finished film." 

Of major concern to Goldberg were the 
sequences with her and Swayze in the same 
scene; the actress had to act as if he was 
absent. 

"Have you ever tried to work with 
somebody who was there but not there? It 
isn't easy. Not looking at Patrick was very 
hard and sort of crazy-making. Every once 
in a while we would be doing a scene and 
everything would seem to be going OK 
when suddenly, Jerry [director Jerry 
Zucker] would call cut. I would ask him 
what the problem was and he would tell me 
I was looking at Patrick. I would tell him, 
'No, I'm not.' So, we would shoot the 
scene again and I would be looking all 
around and trying not to look at Patrick. 

"I talked to Bob Hoskins after making 
Ghost and told him that now I knew what 
he went through on Roger Rahhit. Your 
body language changes. You've got to 
naturally keep a distance from somebody 
who your head tells you is right in front of 



you but your script tells you you can't see. 
It was real tough." 

But the toughness, she claims, was 
more than offset by what Goldberg says 
was "a different experience." 

"Patrick and Demi are different types of 
actors than I am. They needed more space 
and quiet between scenes. But I liked a lot 
of noise and bad jokes. And there was a lot 
of that. Jerry was always in a funny place 
and Rick Aviles [who plays Willie Lopez] 
is one of the craziest people I've ever met. 
I had some of those days where things got 
heavy and I wasn't in the best of moods, 
but then one of the crew members would 
come along and tell me a really awful dirty 
joke, I would bust up and everything would 
be fine again." 

Really Candid 

Whoopi Goldberg made her motion pic- 
ture debut in The Color Purple in 1985. In 
the ensuing five years, she has averaged 
two films a year, the likes of Jumpin' Jack 
Flash, Burglar and Fatal Beauty. And she 
is candid in summing up her credits to date. 

"None of the stuff I've done will ever 
cure cancer," Goldberg announces. "It's 
entertainment, and some of it has been 
better entertainment than others. Ghost is 



Goldberg describes her character Gulnan 
as being "kind of like Yoda. She's very 
old and very wise." Data (Brent Splner) 
Is much younger but not necessarily 
wiser. 

a good little movie; like Jumpin' Jack 
Flash, which I've changed my mind about 
and am finally able to watch. Burglar and 
Clara's Heart are good little movies. 

"There's also a couple I didn't care for. 
Telephone read brilliantly but it was cock- 
adoo on screen. I'm also not crazy about 
Fatal Beauty, it could have been a whole 
lot better. I've done good stuff and bad 
stuff. That's what careers are all about." 

Her career has also been about personal 
growth. "Nobody ever encouraged me in 
this business. I encouraged myself. I was a 
very dull and shy child. I was the last per- 
son you would expect to be a success in 
this business. But I always felt if I kept 
going, something would happen. But I 
even surprised myself at times. When I was 
doing ensemble theater and comedy work, 
I felt I had some talents. But when I started 
doing my shows in Berkeley and found 
that I could be funny on my own, I was 
shocked." 

The actress, currently co-starring with 
Jean Stapleton in the CBS sitcom Bagdad 
Cafe, is also a bit surprised when asked to 
comment on the lack of substantial parts 
for blacks in film. 

"Well, I don't know if I'm the one who 
should be commenting on that situation," 
says Goldberg. "I've made 1 1 films in five 
years, so / can't complain about the 
amount of work that's out there. 

"I am black. But I didn't decide to be 
black yesterday. I'm black and I'm getting 
the work and I'm doing some good things, 
but I realize many black actors and ac- 
tresses are not being given the opportuni- 
ties. The industry has got to stop thinking 
in terms of black and white and has to start 
thinking in terms of who is right, regard- 
less of color, for the role." 

Goldberg describes herself "as a curios- 
ity in the entertainment business. 

"I'm an independent and so I'm quick to 
be misunderstood," she says. "I ate a ton 
of shit for a long time because of the way I 
wore my hair and, suddenly, Milli Vanilli 
comes along and the way I wear my hair is 
in vogue. But being independent also 
works to my advantage. Because people 
perceive me as unpredictable, I'm offered 
the types of things that allow me to 
stretch — roles like Oda Mae in Ghost." 

Goldberg provides a quick assessment 
of her recent real-life grandmotherhood 
and a bit of toy nostalgia that indicates, as 
a child, a fondness for electric trains. 

"I used to sit down with those trains and 
imagine I was traveling all over the world. 
I loved being in that fantasy world. And 
I've been real lucky that I've been able to 
carry that fantasy world over into what I do 
as an adult. I will never think of this as a 
job," says Whoopi Goldberg. "For me, it 
will always be a fantasy and a dream." '^ 



12 STARLOC/Novemher 1990 



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Prices in fine print are publishers' hardcover editions. 
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UIOEOLOG 



ANNIVERSARY TIME 

I n these final months of 1990, several 
■ home video companies are leaping onto 
the anniversary bandwagon with special 
collections. MCA Universal is currently 
trumpeting the birthday of that raucous 
redhead. Woody Woodpecker. Born at the 
Walter Lantz Studio, he debuted in 
"Knock, Knock," released in November 
1940. But if the earliest version of Woody, 
grotesquely colored and snaggle-toothed, 
looked and sounded a bit like his colleagues 
over at Warners, it's because the character 
was originally created by Warner veteran 
Ben "Bugs" Hardaway, who had been 
writer and director of the earliest Bugs and 
Daffy shorts before joining Lantz's opera- 
tion. For the first few years, Woody was 
even voiced by Mel Blanc, before he be- 
came Warners' exclusive property. Grace 
Stafford, Lantz's wife, took over the part 
on a permanent basis in 1951. 

MCA Universal Home Video is issuing 
a two-cassette package of cartoons, S 1 2.95 
each in VHS and Beta, Dolby HiFi. 
Volume I includes: "Woody Woodpecker" 
(a.k.a. "The Cracked Nut"), which is the 
woodpecker's first official starring role, re- 
leased in 1941, "Banquet Busters" (1948). 
in which Woody and Andy Panda team as 



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(Woody's voice) practice. 



starving musicians, directed by Disney vet- 
eran Dick Lundy, "Born to Peck" (1952) 
and "The Redwood Sap" (1951), directed 
by Lantz. Volume II features: "The Coo 
Coo Bird" (1947) also by Lundy, "Well 
Oiled" (1947) directed by Lundy, "Ace in 
the Hole" (1942), which was the first 
Woody not directed by Walter Lantz him- 
self, and "Arts and Flowers" (1956) di- 
rected by Paul J. Smith. Unfortunately, the 
collection includes no titles directed by 
Shamus Culhane, who was responsible for 
some of Woody's wildest outings — "Ski for 
Two" (previously released in a 1982 an- 
thology) and "Barber of Seville," for ex- 
ample — nor is Don Patterson's great 
"Termites from Mars" featured. Maybe 
they'll make it into a later collection 
someday. Consider this to be a hint to 
snatch up those titles if you ever see them. 

More autumn anniversaries can be had 
from Warner Home Video with Happy 
Birthday. Bugs: 50 Looney Years. This is 
the 42-minute (sans commercials) TV 
special that aired a few months back. If 
you missed it, this freewheeling salute to 
the rabbit with the long grey ears is priced 
at only $14.95. 

Older than Bugs and Woody but still 
kicking up her heels is the world's most 
adorable vamp, Betty Boop, who appears 
in Betty Boop: 60th Anniversary Special 
Collector' s Edition from Republic Pictures 
Home Video, S29.98 on laserdisc. Also, 
look for Max Fleischer's first animated 
feature, Gulliver' s Travels, now on 
laserdisc with chapter stops. 

Republic Pictures Home Video has just 
released the 90-minute Beauty & the Beast 
special that was originally broadcast as a 
two-hour (with commercial interruptions) 
TV movie. In this story, "Though Lovers 
Be Lost," Catherine, pregnant with 
Vincent's child, is abducted by a shadowy 
agent of evil; it was written by series cre- 
ator Ron Koslow with Alex Gansa and 
Howard Gordon. This is the third B & B 
videocassette to become available and 



retails for an affordable SI 9.98 in VHS. 

Don Bluth's latest animated feature 
musical All Dogs Go to Heaven features 
the voices of Burt Reynolds, Dom De Luise, 
Loni Anderson, Judith Barsi, Melba 
Moore, Charles Nelson Reilly and Vic 
Tayback, and is available for $24.98 in 
VHS and Beta HiFi Dolby surround stereo 
from MGMAJA Home Video. Bluth's first 
feature film. The Secret of NIMH, is also 
available from MGM/UA at the low price 
of $19.98 in VHS and Beta HiFi stereo. 

The Martians have landed! But 
Martians Go Home starring Randy Quaid 
is a not very successful adaptation of the 
famous Fredric Brown novel. It's a full- 
priced ($89.95) IVE release in Beta and 
VHS HiFi. 

Just in time for Halloween this month, 
RCA/Columbia Pictures Home Video has 
created a specially packaged collector's set 
of Ghosthusters and its sequel Ghost- 
husters //. The two-cassette boxed set re- 
tails for S34.95 and will only be available 
through January 1991. Or you can pick up 
Ghosthusters U by itself now for only 
SI 9.95 in VHS HiFi Dolby stereo surround 
sound. 

Other laserdisc releases of note include: 
The Lost Boys in widescreen and surround 
stereo, Blake Edwards' Academy Award- 
winning auto race epic comedy with Jack 
Lemmon and Tony Curtis. The Great 
Race, in stereo and widescreen, S.O.B.. 
Edwards' wickedly witty lampoon of 
Hollywood filmmaking with Julie Andrews, 
Robert Preston and William Holden (in his 
last film), The Incredible Mr. Limpet with 
Don Knotts as the accountant-turned-fish, 
and Auntie Mame, also in widescreen, with 
Rosalind Russell in the memorably madcap 
movie version of her award-winning 
Broadway success and co-starring Coral 
Browne (Mrs. Vincent Price, who was most 
recently seen in Dreamchild) in the deli- 
cious role of Vera Charles. All are from 
Warner Home Video. 

— David Hutchison 



{%* 




MEET THESE STi^RS 

A T THESE CONVENT\OUS\ 

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NOVEMBER 1 7 & 18 at The HOWARD JOHNSON'S HOTEL 

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our Annual THANKSGIVING CREATION CONVENTION at the PENTA HOTEL 

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MANHATTAN on FEBRUARY 16-18 at the Penta Hotel 



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Fantasy film heroes aren't born — 
they're made, especially in England. 
British actor Edward Judd didn't set 
out to become England's premier science 
fiction cinema hero of the 1960s. He just 
wanted to establish himself as a solid, 
dependable working actor. Instead, his 
rugged good looks, authoritative manner 
and self-confident demeanor briefly 
launched him into the limelight as the 
macho leading man of The Day the Earth 
Caught Fire and First Men in the Moon. 

"Frankly, I never considered myself the 
leading man type," the 57-year-old actor 
declares. "The necessities of stardom — the 
things that have nothing to do with the ac- 
tual work — were not for me. I was very 
much a loner, which I still am. I wanted to 
continue doing what I do best, which is 
playing heavies. I started out as a young 
heavy, with slightly sinister overtones. I 
also played many mixed-up young men. 
I never had a self-image of being a "movie 
star.' I just wanted to be a good actor, and 
get down to some meaty roles." 

Early Actor 

Born on October 4, 1943 in Shanghai, 
China to a British businessman father and 
a Russian refugee mother, Judd was edu- 
cated in England, where he developed an 
early interest in pursuing a career on the 
boards. He first acted professionally at age 
16, on stage at Bolton's Theatre, London, 
with subsequent repertory appearances at 
Windsor and Nottingham. He made his 
screen debut in 1948, as a "speaking extra" 
in the Boulting Brothers' drama The 
Guinea Pig (U.S. title: The Outsider). 
which starred Richard Attenborough. 
Another speaking extra bit followed soon 
thereafter, in the Dirk Bogarde racing ve- 
hicle Once a Jolly Swagman (U.S. title: 
Maniac on Wheels). 

While shooting an Army recruitment 
documentary at the Clubland youth club in 
South London, Judd met an aspiring actor 
with the unlikely name of Maurice 
Micklewhite. The two hopeful thespians 



Day Photo Copyright 1961 Universal 





The Day the Earth Caught Fire, Edward 
Judd was there reporting from the actual 
offices of the London Daily Express. 

quickly became best friends, and Judd's 
generous mother delighted in regularly 
serving meals of Chicken Kiev to his less 
affluent Cockney chum. FatefuUy, their 
professional paths would cross several 
times in later years — after Micklewhite 
changed his name to Michael Caine. 

"Neither of us had a pot to piss in back 
then." Judd laughs. "We were both hugely 
out of work, and had very few pennies to 
play with. We were desperately young and 
expansive and quite stupid." 

Interrupting his burgeoning acting ca- 
reer in 1951 for two years of national 
service in the RAF Medical Corps, Judd re- 
turned to civilian life in a succession of 
progressively more substantial TV and film 
parts. After making his small screen debut 
on the daily live soap opera Penny Corner. 




Man 




in 
the 




oon 



For many years, Edward Judd was an SF 
hero. However, he prefers being the villain. 



By STEVE SWIRES 



he was booked to play a young soldier in 
Hammer Films" SF thriller X The 
Unknown. Although many sources credit 
him among the cast, he did not actually 
appear in the picture, due to a schedule 
conflict. 

Rising through the supporting ranks in 
a wide variety of movie roles. Judd worked 
with many of England's most successful 
directors and actors: as a tough guy in Ken 
Hughes' trucking drama The Long Haul 
(1957). starring Victor Mature (in which 
Judd met his first wife, the late actress 
Gene Anderson); as Jean Seberg's prison 
guard in Otto Preminger's Saint Joan 
(1957); as a soldier in Gerald Thomas' first 
Cany On comedy. Carry On Sergeant 
(1958), featuring future Doctor Who 
William Hartnell; as another soldier in 
John Guillermin's true-life World War II 
adventure / Was Monty's Double (1958). 
with John Mills; as a policeman in Don 
Chaffey's psychological thriller The Man 
Upstairs (1958), starring Richard Atten- 
borough; as a hairdresser in The Shaice- 
down (1958): as an inmate in Joseph 
Losey's prison expose The Criminal (1960 
— U.S. title: The Concrete Jungle): and as a 
crook in the heist thriller The Challenge 
(I960— U.S. title: It Takes a Thief). 



Collaborating in these films with the 
cream of British cinema provided Judd 
with an invaluable learning experience, 
which stood him in good stead for his 
subsequent starring assignments. "'They 
were the giants of the profession." he 
points out. "What was so lovely about 
them was that, if they thought you had any 
talent, they were the first to advise you — 
not tell you. but advise you. It was an 
immense help. I would like to think that 
the young actors of then, who are the older 
actors of today like myself, are still able to 
give the odd word of advice to the 
youngsters — and the good ones always 
listen." 

A supporting stage role in the ac- 
claimed wartime play The Long and the 
Short and the Tall, alongside future stars 
Peter O'Toole and Robert Shaw — with 
Michael Caine bringing up the rear as 
0"Toole's understudy — gained Judd his 
first extensive West End exposure. By 
I960, he was starring in a play written ex- 
pressly for him. which led to a major 
change in his professional fortunes. 

"The play attracted a lot of the press at 
the Bristol Old "Vic. and was transferred to 
the West End." he recounts. "There, the 
three most important British theater crit- 



The sorry sequel to She was to be 
Edward Judd's last stand as a genre 
leading man. 

ics went ape over me, which was rather 
embarrassing. [Writer/producer] Carl 
Foreman came to see the play. I didn't 
meet him, but he went to Mike Frankovich 
and Bill Graf, the heads of Columbia 
Pictures' British branch, and said: 'You 
must sign this boy up" — and they did. sight 
unseen." 

Initially enthusiastic about his standard 
seven-year pact, Judd eventually grew dis- 
enchanted with his servitude. "I thought it 
was thrilling at the time." he says. "But, 
with hindsight. I've decided it was a hig 
mistake. I received a weekly salary, which 
went up on an escalating scale over the 
years. I was very young and naive, and the 
prospect of constant money, rather than 
regular employment, looked quite agree- 
able. But I couldn't bring myself to be a 
'company man.' " 

Six months into his Columbia contract, 
another stroke of good fortune brought 
Judd to the attention of prolific 
writer/producer/director Val (The 
Quatermass Xperiment) Guest, who was 
searching for a suitably cynical leading 
man for his controversial doomsday 
thriller The Day the Earth Caught Fire. 
"Val had seen me a few weeks previously 
in an episode of the TV series Armchair 
Theatre." he relates. "I had been cast in a 
subsidiary role, and Patrick McGoohan was 
the lead. 

"For reasons best known to himself, 
"Paddy" decided one day into rehearsals 
that he didn"t want to know, and he 
ducked out. The director thought I had 

STEVE SWIRES. Senior STARLOG 
Correspondent, profiled Charles Schneer in 
STARLOG #150-152. 

SIARLOG/Noremher 1990 17 




"I had never done anything like that before, so I thought it would be fun," says 
Judd, glad that Moon has also brought joy to a new generation of viewers. 



what was required, so I was jumped up into 
the lead. Val saw the show, and called and 
offered me The Day the Earth Caught Fire. 
I didn't even have to audition." 

Fiery Journalist 

A chilling cautionary tale about the 
dangers of nuclear arms proliferation — in 
which simultaneous American and Russian 
bomb tests alter the Earth's orbit and send 
it hurtling toward the Sun — Day earned 
Judd his first starring role in a film — com- 
plete with his own title card in the opening 
credits: "And introducing Edward Judd." 
Utilizing his newfound fame to help his less 
fortunate old friend, he secured an 
unbilled, one-scene bit part as a policeman 
for Michael Caine. 

The thoughtful screenplay by Guest and 
Wolf Mankowitz was made especially 
plausible by unfolding against the back- 
ground of a bustling newspaper office. 
Brash and beefy. Judd was ideally cast as 
former- star-reporter -turned- self-pitying- 
divorced-alcoholic Peter Stenning, who 
accidentally stumbles across the hottest 
story of his life. A former journalist him- 
self. Guest set his storyline in the real-life 
London office of the Daily Express, whose 
editor. Arthur Christiansen, he hired to 
play the editor in the movie, as well as 
double as technical advisor. 

By shooting some scenes in the actual 
Daily E.xpress office. Guest achieved a re- 
markably authentic atmosphere, which he 
extended even further by encouraging the 
actors portraying reporters and editors to 
constantly deliver overlapping dialogue. ""It 
was a finely written piece, but it was a 
hitch to say." Judd laments. "The instinct 
is to wait for the other person to finish 
talking before you start speaking. So that 
kind of fluidity with the overlapping dia- 
logue had to be very carefully rehearsed. It 
didn't happen by accident." 

Adding an important humanizing 
aspect amidst the destructive developments 
were the performances of cherubic Janet 

18 S.l\KLOGIN<nemher 1990 



{Darby O'Gill and the Little People) 
Munro as secretary Jeannie Craig, and 
acerbic Leo (Rumpole of the Bailey) 
McKern. who portrayed skeptical science 
reporter Bill McGuire. "Leo is one of our 
finest actors, and one of the funniest men 
who ever trod." Judd says. 

Originally a comedy specialist. Val 
Guest segued successfully into a series of 
fast-paced suspense thrillers for Hammer 
Films— where he honed the skills he 
brought to fruition in his finest work. The 
Day the Earth Caught Fire. "Val was a 
very easygoing, nice man to work for," 
Judd remarks. "He was a "blackboard 
man.' He always had a blackboard on the 
set. Every shot and every scene number 
was marked out on the board, so everybody 
knew precisely where the camera was 



pointed and where the actors were. Val 
was a real charmer. Were it not for him. 
perhaps I might never have become a 
successful actor." 

Powerfully provocative for its time. Day 
also caught heat from the British censor, 
who branded it with a notorious "X 
certificate" for Janet Munro's discreet nu- 
dity, as well as a sweaty love scene with her 
real-life ex-boy friend Judd. "We also shot 
a 'continental version,' " he reveals. "It 
was a very short scene of us in bed. when 
we first got together. The crew was asked 
to leave the set. and we were limited to the 
cinematographer Harry Waxman. his 
camera operator, the hairdresser, the 
makeup person. Val. Janet and myself But 
that was bullshit, because the gantries were 
groaning above us. under the weight of the 
crew looking down." 

Despite her wholesome image as a 
youthful leading lady in three Walt Disney 
pictures. Janet Munro led a tragic personal 
life, developing a serious drinking problem 
while married to alcoholic actor Ian 
{Children of the Damned) Hendry — and 
died at age ."^8. "I loved Janet very deeply. 
God rest her." Judd confides. "She died be- 
cause she suffered from extreme malnutri- 
tion, due to alcoholism. In other words, she 
didn't eat. She just liked to drink. Her 
career had gone into neutral for a while, 
and remorse and angst set in. Once she 
stopped eating, her arms and legs became 
thin as bones, and she looked like a 
plucked chicken. She kicked the booze for 
a while, but it finally got her." 

Such morbid consequences mercifully 
lay far in the future, as the critical and 
commercial success of The Day the Earth 
Caught Fire — on both sides of the 
Atlantic — ignited Judd's career upon its 
1962 release. Still on loan from Columbia 




Invasion Photo Copyright 1965 Warner Pathe 




Photo: Courtesy Crouch Associates/Edward Judd 



Pictures, he next starred as a Naval 
Commander in CM. Pennington-Richards" 
World War II adventure Mystery 
Submarine (a.k.a. Decoy) and as a "spoiled 
rich brat'" in love with a semi-prostitute in 
Wolf Rilla's drama The World Ten Times 
Over (U.S. title: Pussycat Alley). Finally, in 
1963, his home studio cast him in sup- 
porting roles in a pair of their own produc- 
tions: as a racing car driver opposite Susan 
Hayward in Daniel Petrie's updated 
remake of the Bette Davis soap opera 
Stolen Hours: and as a Viking warrior led 
by Richard Widmark in The Long Ships. 

Lunar Explorer 

Amortizing his contract salary, 
Columbia's studio management then sug- 
gested Judd for the starring role of unlucky 
entrepreneur Arnold Bedford in Charles 
H. Schneer's adaptation of H.G. Wells' 
1901 novel of Victorian space exploration, 
First Men in the Moon. "Bill Graf from 
Columbia rang me and said: 'Charlie 
Schneer is doing this movie. Would you 
like to go and see him'?' " Judd recalls. "I 
had seen some of Charlie's films, like 
Jason and the Argonauts, so I was familiar 
with his work. I went to see him, and he 
offered me the part. It was simple." 

Comprising a trio of accidental astro- 
nauts, which also included Martha Hyer as 
his fiancee Catherine Calendar, and vet- 
eran scene stealer Lionel (Chitty Chitty 
Bang Bang) Jeffries as the scatterbrained 
scientist Dr. Joseph Cavor, Judd and com- 
pany journeyed to a lethally inhospitable 
Moon, where they encountered a screenful 
of lunar menace conjured up by FX wizard 
Ray Harryhausen. A novice at the peculiar 



In makeup as the elder Arnold Bedford, 
Judd recalls being one of the First Men 
in the Moon. 

rigors of acting in a special FX extrava- 
ganza, Judd looked forward to his most 
unusual technical challenge. 

"I had never done anything like that 
before, so I thought it would be fun," he 
reasons. "Since Lionel was already a great 
chum of mine, I knew we would have 
laughs on the set. It was fun to do, but it 
was bloody hard work fun. Lionel called it 
'acting with chalk marks,' because we were 
pointing at things that weren't there, and 
dealing with blue backing and traveling 
mattes. It was quite an experience." 

Helming his third Harryhausen/Schneer 
fantasy fest was genre specialist Nathan 
Juran, who willingly ceded his directorial 
authority to Harryhausen's technical 
requirements. "Whenever we did a scene 
involving special FX, there seemed to be a 
tacit understanding that Ray would come 
forward and tell us what we were doing, 
and where the creatures were," Judd 
discloses. "He didn't tell us how to act, 
however, because he figured we should 
know that. 

"Ray explained everything to us as we 
did each scene. I would ask, "What am I 
looking at? What does it look like'?' Ray 
would bring out a drawing, and say, 'That.' 
I would respond, "I see. And where is it'?' 
Ray would answer, 'It's over there, on the 
right. Up a bit. Eyeline a bit higher.' It was 
murder fighting with creatures that didn't 



exist, but would be put in later. I was 
throwing punches against thin air." 

Among Judd's most fearsome antago- 
nists was a giant, caterpillar-like "Moon 
Calf," which he battled single-handedly. 
"That didn't exist," he emphasizes. "It was 
just a hole in a plaster wall, in an empty 
studio at Shepperton. I was directed by Ray 
as to when to react to it. and what my 
reaction ought to be. I was really ducking 
and diving in and out of the aperture, as it 
were." 

To reduce the expense of laborious 
stop-motion animation, Harryhausen 
clothed a veritable army of small children 
in insect-shaped monster suits, to portray 
an obedient race of "Selenites." "They 
were well-behaved," Judd remembers. 
"They were so enclosed in those suits, and 
it was so bloody hot, that their high exu- 
berance became dampened very quickly. 
They were actually quite docile." 

Accustomed to more creative 
directorial guidance, Judd and Jeffries were 
dissatisfied with Juran's perfunctory 
instructions. "In all honesty, Lionel and I 
didn't like Jerry's working methods too 
much," Judd complains. "He was more of a 
technician than an actor's director. We 
always thought of him as an art director, 
which, of course, he had been. 

"After the first day of shooting, for ex- 
ample, Jerry seemed to congratulate him- 
self on the number of set-ups we had done. 
But from my point-of-view, it wasn't the 
number of set-ups that mattered, but how 
good they were. We finally adjusted to 



"Peter is a genuinely sweet man," says Judd, here in the background with 
Gushing and Carole Gray, while Eddie Byrne learned it's the Island of Terror. 





Photo: Courtesy Crouch Associates/Edward Judd 




Surviving personal tragedies, Judd 
returned to filmmaking as a cliaracter 
actor and had a recurring role on the 
British TV series Flambards. 

each other, and got along all right." 

With an admirable absence of ego. Judd 
then went from the prestige of starring in a 
relatively big budget major studio release, 
to playing the lead as overworked night 
duty doctor Mike Vernon — held captive by 
an alien force field at a besieged country 
hospital — in Alan Bridges' Invasion, a re- 
lentlessly low-key, low-budget, black-and- 
white SF suspense thriller with limited 

20 STARLOG/Novemher 1990 



commercial potential. Never released the- 
atrically in America, it was eventually dis- 
tributed as part of an AIP TV syndication 
package. 

"I wasn't concerned about going from a 
'big picture' to a small one," Judd insists. "I 
thought it was quite a nice story. I liked 
Alan's way of working. We had a good 
cast. I wasn't thinking about my 'image.' It 
was more a matter of: 'It's a good part. 
The money is all right. It might be fun to 
do it. I'll take it.' " 

Action Star 

Lacking any further domestic assign- 
ments. Columbia next loaned Judd to 
Universal Pictures, which flew him to 
Hollywood for the first time, for a support- 
ing role as a bearded journalist opposite 
Rock Hudson and Gina Lollabrigida in the 
slapstick sex comedy Strange Bedfellows. 

Upon his return to England, however, 
Columbia informed Judd that his services 
were no longer required, terminating his 
contract one year short of its full cycle. 
"They didn't know what to do with me," 
he claims. "They moved shop at that time, 
so the Columbia stable of actors — of which 
there were very few of us under contract — 
was discontinued. Virtually the entire unit 
went back to the States." 

Once at liberty as a freelance actor. 
Judd was cast in a starring role as bone 
disease expert Dr. David West, in Terence 
Fisher's tense SF saga Island of Tenor. 
Although second billed to nominal star 
Peter Gushing — as Britain's most eminent 
pathologist Dr. Brian Stanley — Judd car- 
ried the weight of the action, as the pair 
fought an onslaught of giant, tentacled 
slugs overrunning remote Petrie's Island. 

"We shot the exteriors in a place called 
Black Park, which has become a sort of in- 
joke for actors of my generation." Judd 
chuckles. "It has a river, and a lot of trees. 
Nearly all the Hammer gothic horror films 



That deadly guard behind Judd wasn't 
the only one dumbfounded. Of his 
Vengeance of She co-star, the actor 
notes, "Olinl<a [Berova] wasn't an 
actress. I don't Icnow what she was. " 

were shot there. It was always used for 
Transylvania, in all those endless shots of 
the carriage leaping along the road, driven 
by a dark, somber, top-hatted minion. No 
doubt Peter's and Terry's footprints were 
scattered all over that forest." 

Replicating every six hours in an insa- 
tiable hunger for life-sustaining bone mar- 
row, the menacing "Silicate" creatures 
encountered an unexpected animal 
obstacle lurking amid the shrubbery. "The 
Silicates were made of rubber," Judd 
explains, "and manipulated by machine for 
the close-ups in which they moved around. 
In the back woods of Black Park, however, 
they were suspended on a rather elaborate 
system of wires. One day. there was a stray 
dog in the park, and he actually tried to 
make love with one of the Silicates. He 
found an opening, and started to mount it. 
That poor dog must have gotten the 
surprise of his life." 

An acknowledged master of the gothic 
cinema, the late Terence Fisher was actu- 
ally quite different in personality and 
temperament from the often brutal and 
sadistic nature of his work. "Considering 
the kind of films he made, you might ex- 
pect Terry to have been some sort of mad 
dynamo, but there was none of that at all," 
Judd affirms. "He was a very benign, al- 
most avuncular man. He was a consum- 
mate professional, who knew precisely 
what he wanted and set out to get it. He 
was good as gold, always did his homework, 
and was great fun to work with. I adored 
Terry. He was one of my favorite people in 
the business." 

A close friend and collaborator with 
Fisher for nearly two decades. Peter 
Gushing made sure to immediately include 
newcomer Judd in their long-standing 
partnership, demonstrating an imaginative 
predilection for inventing new bits of 
physical business with an endless array of 
props. "Peter is a genuinely sweet man." 
Judd states. "He was never in bad temper. 
He was always equitable and easygoing, 
and we became good friends. I've never 
heard a bad word said about him from 
anyone who has worked with him. Peter 
truly is unanimously beloved." 

Having worked with two of the most il- 
lustrious veterans of Hammer Films. Judd 
finally acted for the famed fantasy factory 
itself in 1968, as two-fisted heroic psy- 
chiatrist Philip Smith, in Cliff Owen's 
adventure fantasy The Vengeance of She. a 
belated sequel to the 1965 box office hit 
Slje. Scripted by comic strip writer and spy 
novelist Peter {Modesty Blaise) 
O'Donnell, it turned out to be one of 
Hammer's lesser efforts, a pulp-level pot- 
boiler about the eternal quest of lovesick 
Kallikrates to find the immortal soul of his 
(continued on page 22} 



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Judd 



(continued from page 20) 

beloved Queen Ayesha, reincarnated in 
the voluptuous body of a vacuous blonde. 

Replacing statuesque Ursula Andress in 
the sultry title role was enigmatic Olinka 
Berova. Hammer's inexplicable flavor of 
the month. "Olinka wasn't an actress," 
Judd observes. "I don't know what she was. 
Perhaps she was a model. I figured she was 
making it with somebody important behind 
the scenes. I wonder whatever became of 
her. She totally disappeared. 

"Olinka had a physical resemblance to 
Ursula, except that Ursula could act a bit. 
Olinka's knowledge of screen craft was 
somewhat limited. It was impossible to 
work with her. I realized, 'Not a great deal 
between the ears here.' But I bit my tongue 
and thought of the paycheck." 

Reprising his role as the crackpot 
Kallikrates was handsome hunk John (One 
Million Years B.C.) Richardson, whose 
voice had to be dubbed by British actor 
David Keyser. "John was a beautiful prop." 
Judd asserts. "He had a very thin, 
lightweight voice, which didn't go with his 
appearance. It wasn't an actor's voice. The 
producer. Aida Young, thought he was a 
pretty young man, who would enhance the 
movie. But. in fact, he couldn't get his shit 
together too hugely." 

Released by 20th Century Fox in 
America on the lower half of a double bill 
with the Bette Davis Hammer vehicle The 
Anniversary, The Vengeance of She was 
Judd's final foray as a leading man. When 
he returned to the screen three years later, 
it was as a character actor, playing small 
supporting roles. In the interim, he bad 
undergone a profound personal turmoil. 

"I went through a transitive period." he 
acknowledges. "My wife died, and I went 
into shell shock in my life for a while. The 
British film industry went through a 
transition as well, and died a death. There 
were very few big movies still being made 
in England. Other young actors came up, 
and the competition for parts was huge. So, 
I decided to throw away my hairpiece and 
become a character actor." 

Character Man 

During the last two decades, Judd has 
only occasionally appeared in films, in 
roles often too brief to fully showcase his 
acting ability: as a game warden in Living 
Free (1971); an American arms dealer in 
Universal Soldier (1971); a double-crossing 
crook in Vault of Horror (1973); a 
spymaster in Assassin (1973); a property 
speculator in Lindsay Anderson's O Lucky 
Man (1973); a fertility doctor in Whose 
Child Am I? (1974); a theatrical producer 
in The Incredible Sarah (1976); an Israeli 
Air Force Captain in the TV movie The 
House on Garibaldi Street (1979); as 
Barrymore the butler in a cable TV movie 
version of The Hound of the Baskervilles 
(1983); an undercover policeman in the 



comedy The Boys in Blue (1983), which 
reunited him with writer/director Val 
Guest; and as a vicious South African 
farmer in The Kitchen Toto (1987). 

"I've mostly done a lot of theater and 
television work," Judd reports. "I was in 
the play The Changing Room, directed by 
Lindsay Anderson. I worked for Lindsay 
again six years ago, in the play Early Days, 
with Sir Ralph Richardson, which we did 
in England. Canada and America. I dub 
many foreign movies into English-and 
English movies into English, for that 
matter. I'm also one of the disembodied 
voices extolling the virtues of toilet paper 
and other products on English TV. So, all 
of that still keeps me busy." 

Among Judd's numerous British TV 
credits are guest appearances in such popu- 
lar series as: The Onedin Line. Z Cars, 
Crown Court. Coronation Street and The 
New Avengers: a regular role as a wealthy 
patriarch in Flamhards: and a supporting 
part as a grimy graverobber in a cable TV 
version of Frankenstein. His most recent 
TV work to be seen in America was the 
1988 CBS mini-series Jack the Ripper, in 
which he played a small role as a Scotland 
Yard official who was the boss of the in- 
vestigating inspector. That starring part 
was played by his childhood pal Michael 
Caine. 

Only five months younger than Judd, 
the indefatigable Caine has starred in a 
staggering 65 films during the past three 
decades, and continues playing romantic 
leads well into middle age, while Judd is 
limited to jobs largely unworthy of his 
talent. The irony of the reversal of their 
professional fortunes is not lost on him. 

"Acting careers tend to take strange 
twists and turns," Judd muses. "The words 
■fair' and 'unfair' don't really apply to our 
profession. It's all a lottery. I'm delighted 
for Michael that he has become a mega- 
star, because I like the guy and his work. 
That's just the way things happen in our 
business. 

"I would like to have continued playing 
starring roles in films> but as a leading 
older man, which is what I've become. 
However, I don't consider myself by any 
means finished. I have much more to give. 
I'm still looking forward to enjoying my 
dotage as a character actor. I do feel the 
best is yet to come." 

Although his subsequent career may 
not have fulfilled the promise of his earlier 
acting achievements, Edward Judd has 
come to terms with his life, finding re- 
newed vigor in a more pragmatic outlook. 
The classic status accorded his two finest 
films. The Day the Earth Caught Fire and 
First Men in the Moon, assures him of 
screen immortality — at least among appre- 
ciative genre aficionados. 

"I'm very grateful for that," Edward 
Judd reflects. "Acting is only of any value 
when people actually see your work. So, if I 
have touched anyone, or brought back 
fond memories of earlier movies, then I'm 
pleased — and extremely humble." ^ 



mts rbTBeast 



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Escape Photo: Copyright 1971 20th Century Fox 



Due to the torturous makeup, Kim Hunter 
and Roddy McDowall found themselves 
trying to comfort the other "apes," but 
"nobody qabuaBd to the r " " 




B 



I y Hollywood's skewed standards of 
^normal behavior, Kim Hunter proh- 
'at>ly qualifies as "the eccentric 
type": She lives in a Manhattan apart- 
ment and not in LA's smoggy climes, her 
Oscar statuette is tarnished and incon- 
spicuously displayed, and she doesn't give 
tH'o hoots in a ham about owning any of 
her films on videotape. But in Hunter' s 
case, "eccentric" also translates into 
warm, intelligent and charming. 

Nee Janet Cole, the future stage, screen 
and TV actress began her acting career 
fresh out of high school, first as a member 
of a Florida stock company and later with 
the Pasadena Playhouse. A talent scout for 
Hollywood mogul David O. Selznick spot- 
ted her in one of the Playhouse produc- 
tions, and Selznick quickly placed the 
young actress under contract. Hunter de- 
buted in the Val Lewton chiller The 
Seventh Victim and has since gone on to 
appear in more than 20 films and close to 
a hundred stage roles. One of her finest 
and most challenging roles was as Stella 
Kowalski in Broadway' s A Streetcar 
Named Desire (she later reprised the role 
in the 1951 film version, earning a Best 
Supporting Actress Oscar), but by her own 
admission, she is best remembered today 
for playing the chimpanzee psychologist 
Dr. Zira in the classic Planet of the Ap)es 
and two sequels. 

24 SlAR'LOGINovember 1990 



nP LIFE 

Oscar-Winning Kim Hunter endured days of 
hair & plastic on the "Planet of the Apes." 

By TOM WEAVER & MICHAEL BRUNAS 



STARLOG: How did you get involved on 
Val Lewton's The Seventh Victim! 
KIM HUNTER: Val Lewton knew me be- 
cause he had been in charge of the screen 
test that got me my contract with David O. 
Selznick, and Jacques Tourneur had di- 
rected it. In fact, Tourneur and Val were 
around when Selznick said my name had 
to be changed. Val had worked for David 
during the time of Gone with the Wind 
[1939] and Val was assigned to get audi- 
ence comments during the intermission. He 
didn't- want to do it, and what he finally 
ended up doing was making a list of com- 
ments and inventing names to go with 
them. David later found out what Val had 
done, and when he sent me over to see Val 



at RKO, he said, "I'm sending you to a 
man who's very good at making up 
names!" [Laughs.] Anyway, the three of us 
sat in Val's office, Lewton, Tourneur and 
me, thinking up first names, and Val's sec- 
retary was writing down a whole list of last 
names. Hunter was among them. And in 
our list of first names, I actually suggested 
Kim, only because 1 remembered it from 
Showboat — 1 liked it, thought it was fun. 
And Selznick put the two together — 1 had 
nothing to do with that. He called me and 
asked, "Kim Hunter — do you like it?" 
STARLOG: What were your impressions 
of Val Lewton? 

HUNTER: A darling, gentle man — so 
wrong to be known as the King of the 




"Becoming a star wouldn't have 
bothered me, but what is a star? A 
star isn't anything," says Hunter. 
"An actor acts." 

Horror Films [Laiighsy. 
STARLOG: Was he on the set of Seventh 
Victim much? 

HUNTER: I don't remember his being on 
the set all that much. He saw all the 
dailies, I know that, and he insisted that I 
not! He had brought me in to look at my 
tests, and I damn near burst into tears, and 
so he said, "Oh, no, no, keep her out! She's 
one of those that has no objectivity about 
her own work." Actors do that, they just sit 
there and criticize everything. 
STARLOG: Did you have first-picture 
jitters? 

HUNTER: It was just all so new. I remem- 
ber them telling me to be very, very careful 
because the camera exaggerates every- 
thing, and what an actor might do on stage 

According to Hunter, Beneath the Planet 
of the Apes wasn't a particularly worthy 
sequel. She was talked into doing it. 





'Z.j^ 




is not necessarily a good idea on film be- 
cause it looks five times larger. Which 
meant that I found myself terrified to 
move a muscle! [Laughs.] Every now and 
then, Val would say. "Would you relax, 
please? You look like you're embalmed!" 
STARLOG: What do you think of the 
film today? 

HUNTER: Oh, I don't know-it's very 
hard for me ever to see myself. I keep see- 
ing things I wished I had done, or not done, 
or what-have-you. I just know from what 
I'm told and what 1 read that it was con- 
sidered one of the best of the whole lot of 

Enduring the daily four-hour makeup 
ordeal required help. Hunter took vallum, 
"the only way to get through it." 



Val Lewton's horror films. But Lewton's 
way of dealing with horror films, I thought, 
was so marvelous, letting the audience use 
its imagination rather than showing all the 
blood and guts. 

STARLOG: How did you land your role 
in A Matter of Life arid Death (known in 
America as Stairway ta Heaven)! 
HUNTER: While I was under contract to 
Selznick, I got a call asking if I would mind 
coming into the studio and substituting for 
Ingrid Bergman in tests that Alfred 
Hitchcock wanted to make for Spellbound 
[1945]. I said hell, yes, because I wanted to 
go and watch the guy work. He would shoot 
the back of my head, testing various male 
minor roles, and it was very exciting — I 
worked with him for about three days do- 
ing that, and we had lunch together each 
day. And that was the end of that. A year 
later, Michael Powell and Emeric Press- 
burger came to this country looking for 
somebody to play the WAC in A Matter of 
Life and Death. They saw people in New 
York, then they came to California and 
had dinner with Hitch. And Hitch said, 
"Well, there is a girl you might see..." 

That's how I got brought to them, and 
we talked. I had just finished making a film 
with Lizabeth Scott, You Came Along 
[1945], and they asked to see snippets of 
that. I didn't know anything more until 
some time later, when my agent got a call 
saying that I should go to London, I was in. 
Later, talking to Mickey [Powell], I found 
out that he had hired me on a hunch and 
it was not You Came Along — in fact, see- 
ing that film almost turned him against 
me, because he didn't like the hairdo! 
STARLOG: You liked Powell? 
HUNTER: God, what a gorgeous man! I 
was so sorry when he died, but he had been 
quite ill so it was probably a relief. He was 
on morphine almost 24 hours a day toward 
the end. I saw him just before he went back 
to England, where he died — he was dear, 
but he wasn't "in" the conversation, be- 
cause he couldn't hear, couldn't relate. So 
sad. I had much more contact with Mickey 
than I did with Emeric during the making 
of Life and Death because Emeric didn't 
come around the set all that much. His 
work was basically done when they decided 
on the finished script. The two of them 
worked closely together in writing it — the 
first draft would always be Emeric's. then 
Mickey would get his hands in it, and then 
Emeric would tidy it up! So, as 1 said, 
Emeric didn't really come to the set that 
much, but I got to know him because of 
various little gatherings. Another dear, 
sweet man. 

STARLOG: Life and Death was a fairly 
prestigious picture for England, wasn't it? 
HUNTER: Yes, it was. And it was the first 
Royal Command Film Performance — it 

TOM WEAVER, veteran STARLOG corre- 
spondent, and MICHAEL BRUNAS are co- 
authors of Vn'wersal Horrors (McFarland, 
$45). Weaver profiled Richard Anderson in 
STARLOG #156. 

STARLOG/November 1990 25 



took place at the Empire Theatre in 
Leicester Square. It was quite a show that 
night, because there were so many of us in- 
volved — there was a stage show as well as 
the film, and actors from all over the 
world were there. After the show, we went 
upstairs to the Royal Lounge and they had 
us all lined up in a semi-circle and the 
Royal Family came around us. Mickey said 
later when King George got to him, he was 
very complimentary, and then he said, "/ 
know what you did! / know how you got the 
film to go from black-and-white to color 
and back!" What Mickey had done was 
shoot the black-and-white scenes on color 
film and then print only one of three color 
matrices — you had to print all three to 
make it color. The King said, "That' s how 
you slid back and forth, isn't it?" He was 
right, and he was terribly pleased with 
himself that he had figured it out! 

Then when the film was released, all 
the critics laced into it, calling it an anti- 
British film! In the trial scene, Raymond 
Massey had all these marvelous things to 
say about America and terrible things to 
say about England, and Roger Livesey just 
sat there quietly and once in a while said. 
"But you're wrong." Roger won the battle, 
but because he didn't say enough, the crit- 
ics all thought ultimately that Massey's 
character had won! It was crazy. 
STARLOG: Why did they change the ti- 
tle to Stairway to Heaven for the U.S.? 
HUNTER: Jock Lawrence [head of the 
Rank Organization in the U.S.] said. 
"You've got to change it because nobody in 
the United States will come to a film with 
'death' in its title." So, it became Stairway 
to Heaven — this is the only country in the 
world where it's called that. 
STARLOG: You also appeared in Powell 
& Pressburger's A Canterhwy Tale. 
HUNTER: They had already made that 
film, and they wanted to shoot a few new 
scenes to bring it up to date for U.S. re- 
lease. So they brought back [actor] John 
Sweet — he was still in England at the 
time — and they used me in those scenes as 
well. Mickey knew he was going to do it 
before he got me to London, because he 
had me shopping in New York for a hat 
and clothes and what-have-you for 
Canterbury Tale. I was just in the prologue 
and epilogue for American audiences. 
STARLOG: You once said that you got 
into the business to be an actress and not a 
star. 

HUNTER: That's fully accurate,' I think, 
for a great number of us. Becoming a star 
wouldn't have bothered me, but what is a 
star? A star isn't anything. An actor acts. 
That' s the important thing. 
STARLOG: Why don't you collect your 
own films on video? 

HUNTER: Generally, I've seen my pic- 
tures once, and [Laughs] I'm not a big one 
for repeating the experience! So, why save 
them? They just take up space! 
STARLOG: Do you even own A Streetcar 
Named Desire'] 
HUNTER: No. I've seen it enough ! 

26 SlAKhOGINovemher 1990 



Rod Serling wrote the original script for 
Planet of the Apes and visited old 
friend Hunter on the set. 

STARLOG: Do you remember what your 
initial reaction was when you were asked 
to play a chimpanzee in Planet of the 
Apesi 

HUNTER: I was sent the script by my ^ 
agent in California, and he wanted to c 
know whether I would be interested in his ^ 
following through on it. I read it, I thought 2 
it was a damn good script and I said sure. 
From the script, I knew that we were all 
supposed to look like real apes, and I asked 
my agent how they were going to deal with 
this. He said, "Don't worry about that. 

Her film debut in The Seventh Victim put 
Hunter and her partner Erford Gage (left) 
on the hunt for her missing sister. 




20th Century Fox is a reputable firm. 
They'll find some way — put little bits of fur 
here and there." I didn't hear anything 
more for a while, and then I got a phone 
call from Fox, from somebody in casting, 
and he asked. "Miss Hunter, how tall are 
you?" — which I thought was a very pecu- 
liar question. I said. "Five-three and a half, 
why?" He said, "No. that's fine, thank you 
very much," and he hung up [Laughs]'. 
Later. I heard from my agent that the role 
was mine. Well, of course, I hadn't realized 
that all the apes had to be short and all the 
astronauts over six feet, and they wanted 
to make sure I wasn't going to be too tall! 

Then came the shocker. The first call 
was to go out for a fitting, and all I could 
think of was costumes, right? Wrong'. First, 
they stuck me into a death mask or a life 
mask or whatever the hell it is, which was 
quite different from most of them. Usually, 
you had straws in your nostrils, but we had 
a block of wood between our teeth. We had 
to breathe through our mouths because 



Victim Photo: Copyright 1943 RKO Pictures 
everything else was covered — you'll notice 
in the film and in photographs that the lips 
of the apes never come together, because 
that was the only way we could breathe. 
The noses above were purely aesthetic, 
they had nothing to do with reality. Then, 
[makeup man] John Chambers showed me 
some photographs of some of the testing 
they had been doing, and what it would 
look like eventually. I thought to myself. 
"Oh. boy, what am I getting into??" But 1 
came back again, and the next session was 
to do full testing with the appliances. The 
first time it took four-and-a-half hours just 
to get the face on. 

STARLOG: Did it take that long every 
day you worked? 

HUNTER: During the filming, they 
brought it down to three, three-and-a-half, 
but that initial time took four-and-a-half 
Roddy McDowall and I were there and 
they found out our voices weren't coming 
through properly, so we were sent off to a 
sound studio and we worked on that until 



streetcar Photo: Copyright 1951 Warner Bros. 





we finally figured out just where to place 
the voice so it wouldn't be nasal and fuzzy. 
Anyway, a short time later. I came back 
here to New York and I went to my doctor 
right away, and I said, "I need some help 
for this one, because this is going to be ter- 
rible. I need some kind of a tranquilizer for 
the makeup period, and then I have to be 
sharp as a tack once we start working." He 



Edward G. Robinson tested under 
makeup as Dr. Zaius but turned down 
the role on his doctor's orders. 

gave me Valium, and that really was the 
only way I could get through it. 
STARLOG: Did other ape actors have 
that problem? 

HUNTER: It was just insane, for all of us. 
Psychological problems for everybody — ev- 
erybody, without exception. We went 
through hell. I remember on the third one. 
Escape from the Planet of the Apes. Roddy 
and I were hugging dear Sal Mineo like 
crazy. Fortunately, his character got killed 
right off so he wasn't in it all that long, but 
we would hug him 'cause [shaking vio- 
lently] he was like thisl Just crazy, the 
whole time! Roddy and I both kept saying 
to the other apes, "Everything's fine, don't 
worry about it, you'll get used to it" — no- 
body got used to it, but we kept trying to 
reassure 'em. 

STARLOG: Who was your day-to-day 
makeup artist? 

HUNTER: We each had our own one, and 
mine was Leo Lotito. After about three 
weeks. I thought to myself. "Oh, come on, I 
don't need the Valium anymore," so one 
day, I didn't take it before I sat in the 
makeup chair. And when we got to the set, 
Leo said. "You bloody well better take that 
pill from now on, or you get somebody else 
to do your makeup!" He practically had to 
hold me in the chair that morning, and he 
was a wreck! 

STARLOG: How uncomfortable were you 
in the makeup, in the heat? 
HUNTER: That was odd. In the heat, we 
damn near died, and in the cold, we nearly 
froze to death. No insulation. 
STARLOG: Did you really faint a num- 
ber of times because of the makeup? 
HUNTER: No, that was publicity. They 



Reprising her Broadway role as Stella on 
screen, with Marlon Brando as Stanley, 
earned Hunter an Oscar. 

had fans for us all over the place and they 
did their damnedest to help us all survive, 
but it was very difficult. We had to use 
straws for drinking, there was no other 
way, and for eating, they brought in 
makeup tables and mirrors for everybody. 
[Producer] Art Jacobs provided us with 
lunch every day because we had to look 
into a mirror to eat, in order not to mess 
up the appliance. If you ruined it in any 
way, that was hours out of the shooting 
schedufe to replace it! My mouth was a 
good inch or more behind the mouth of 
the makeup appliance. 
STARLOG: And how long to take the 
makeup off at night? 

HUNTER: Four hours to get it on in the 
morning and an hour-and-a-half to take it 
off at night. Nobody said lightly, "You're 
through for the day," they made damn 
sure you were through! [Laughs.] 
STARLOG: But you came back sequel 
after sequel. 

HUNTER: The second one [Beneath the 
Planet of the Apes] they had to talk me 
into — I mean, they really had to talk me 
into. They said. "Look, it's only 10 days' 
work and it's continuity. Please!" Roddy 
didn't do the second one because the tim- 
ing was bad for him — he was making a 
film in England and couldn't — so some- 
body else [David Watson] took over for 
him. But I said all right, and I came back. 
And on the third film, the story was good 
enough for me to want to come back, even 
though I still had my reservations about 
the makeup! And I was very glad I got 
killed on the third one! Roddy went on and 
did the last two playing his own son, but 
for me, three was enough, thanks a lot. 
STARLOG: Did you get a chance to rest 
at all during the day? 

HUNTER: Yes, but that was dangerous, 
too. You had to lie on your back, absolutely 
flat, and one time, I did fall asleep and I 
had the nightmare of my life. "It's hap- 
pened." I said to myself. "I have become 
one!" I couldn't see down below, but I was 
sure that my legs and everything had be- 
come an ape's! I told myself, "No more 
sleeping! None of that foolishness!" 
[Laughs.] I gave up eating, too. I didn't like 
looking at it anymore. 
STARLOG: Was there any discussion 
about how you would move and act in 
playing an ape? 

HUNTER: No, but Roddy and I both did 
our own research, he in the LA Zoo and 
me at the Bronx Zoo. I found a chim- 
panzee up at the zoo who was the only 
chimp up there — they had orangutans and 
gorillas, but only the one chimp. Which 
was unfortunate, because he saw me 
watching him and it got him very angry! I 
kept trying to hide. I would get behind 
groups of people that came into the ape 
building, but he would spot me and turn his 
back! [Laughs.] I really felt badly, and, be- 

STARLOG/Novemher 1990 27 



stairway Photo: Copyright 1945 Universal 




A Matter of 
Life and Death 
emerged as 
America's 
Stairway to 
Heaven 
because 
"nobody in the 
U.S. will go to 
a movie with 
'death' in the 
titie." 



Zira (Hunter) 
and Cornelius 
(McDowaii) are 
stopped by the 
ape militia 
while aiding 
the humans. 



All Planet of the Apes Photos: Copyright 1968 20th Century Fox 



lieve me, I understood exactly how he felt 
while we were shooting. We felt like we 
were in a zoo! We finally got Fox to stop 
bringing around visitors, because they 
would come up and poke our faces with 
their fingers. I couldn't believe it! 

Roddy and I got together before we 
started shooting and exchanged our obser- 
vances, and we mushed around and figured 
out the best way to move and all of that. 
We were basing it on what we had seen 
real chimps do, but we also knew that we 
were playing evolved chimpanzees, which 
made it kind of crazy! We brought all of 
our thoughts to the director, Frank 
Schaffner, and he said, "Great, it's up to 
you, you guys figure it out." So, we taught 



everybody else what to do. The one thing 
that Frank did tell us. something he found 
out after a few days of dailies, was that we 
had to keep those appliances moving. He 
said, "The minute you hold absolutely still, 
it looks like a mask." So, that's why Roddy 
and I ended up twitching our noses a lot 
[Laughs], to keep them moving! 
STARLOG: If audiences had found 
Planet of the Apes funny, it would have 
been the film embarrassment of all time. 
HUNTER: John Chambers said, "We're 
either gonna be real or it's gonna be 
Mickey Mouse. And we won't know until it 
gets on the screen." 

STARLOG: Did Rod Serling ever show 
up on the set? 



HUNTER: Rod came by once, yes, and I 
even remember the scene — it was the 
courtroom scene. Of course, it wasn't his 
script anymore: he had done the original 
script, and they they reworked it into what 
we ended up with. I knew Rod from 
Requiem For a Heavyweight and from 
other TV things I had done with him. I 
liked him. 

STARLOG: What role was Edward G. 
Robinson supposed to play in Planet'} 
HUNTER: Dr. Zaius, the role Maurice 
Evans ended up playing. Robinson tested 
and then told his doctor what he had to do, 
and the doctor told him not to do it, that it 
would be very bad for his heart. But he 
would have been right for the role. There 
were others who were asked to be in Planet 
of the Apes, and they got a load of the 
makeup and said no — I think Mickey 
Rooney was one. I think all the short peo- 
ple in- Hollywood were approached 
[Laughs] ! 

STARLOG: What kind of an army of 
makeup people did you have on that film? 
HUNTER: At one point, when we were 
out on the Fox Ranch, I think we had just 
about every makeup artist in Hollywood- 
there were something like 65 of them 
working for a few days. If the camera was 
far enough away, actors could wear over- 
head masks, but if it got at all close, you 
could see the difference [snap of the fin- 
gers] like that. There was one section 
where the camera had to see many differ- 
ent people — chimps, orangs, gorillas and 
such — and an incredible number of 
makeup artists had to come in. But even 
with just the few of us, our regular group, 
we not only had makeup trailers but the 
lab had an awful lot of people working, be- 
cause each day we had to have a new set of 
appliances. I suppose if they had used ace- 
tone to take the appliances off, they might 
have been able to save them from day to 
day, but acetone would have killed us so 
they had to use alcohol. So, every day the 
appliances were new. 

STARLOG: Any special memories of 
Charlton Heston? 

HUNTER: Chuck was very dear — Roddy 
called him Charlie Hero. I remember we 
were up at Point Dume, which is where we 
shot the ending — the Statue of Liberty, 
the caves, all that stuff. We were out there 
quite a while, a good week or more; the 
first day we met at Fox, we were made up 
and then driven all the way out to Dume 
(over an hour driving). Then, that night, 
we had to be driven all the way back to 
Fox and have the makeup taken off. That 
first day was just insane. Chuck was the 
one who said, "Look, you've got to do 
something for Roddy, Maurice and Kim," 
and so, they got us a helicopter and took us 
back and forth that way from then on. 
That cut the time down considerably. 
STARLOG: Linda Harrison? Maurice 
Evans? 

HUNTER: Linda Harrison later married 

Richard Zanuck, she was his first wife. She 

(continued on page 44) 



28 STARLOG/Novemher 1990 




After a year on the job, Eric Pierpoint closes 
the case on Detective George Francisco. 



By MARC SHAPIRO 



Y 



ou can take the Earthling out of the 
alien. It's simple. Slap on a 
conehead, adopt an intellectual yet 
innocent demeanor and voila! Alien 
Nation's George Francisco. But it doesn't 
necessarily work the other way. Slip off 
the bald pate, 86 the spots and what's left 
isn't always Eric Pierpoint. 

"I was arguing with an auto mechanic 
about a clutch one day," relates Pierpoint. 
"and I was telling him this and that when 
suddenly, his eyes got real wide and he 
said, 'I know you!' I said, 'No, you don't 
know me,' but he said, 'No, I know you. 
Alien Nation. You're George Francisco!' I 
said, 'Yeah, how the hell did you know 
that?" and he said, 'By the way you're argu- 
ing with me.' It was then that I realized 
that, even though I change speech patterns 
and vocal range when I play George, some- 
times I do slip back." 

Pierpoint, two weeks after filming the 



final episode of Alien Nation's first and 
only season, has been catching up on the 
rest of his life. He finally got around to do- 
ing his taxes, and a long-delayed trip to 
the dentist has been consummated at last. 
It's an interesting time for Pierpoint. The 
sudden, unexpected cancellation of Alien 
Nation (which he discusses in STARLOG 
SPECTACULAR #1, now on sale) is still a 
few weeks away, and so Pierpoint, during 
a mid-morning conversation, is more in- 
terested in touting his upcoming "trip to 
an island to stick my head in the water" 
and less interested in describing his cur- 
rent pursuit of other work. 

"I've been getting some movie of the 
week offers, but so far, nothing that has 
piqued my interest. What I'm finding is 
that people are curious about what I look 
like without the makeup, but that they 
don't really know me as an actor. So, I'm 
in the position of still having to go in and 



win the part rather than getting offers 
based on what they've seen me do on Alien 
Nation." 

Pierpoint, in regards to Alien Nation, is 
finding this period a bit easier to handle. 
The makeup questions have all been asked. 
He hasn't had to describe George as "sweet 
and innocent" in almost a month and he 
hasn't had to get serious in describing the 
show's messages in quite a while. 

"I really had no problem with answer- 
ing those questions," Pierpoint remarks. 
"The show was brand new and those were 
the things people wanted to know. But it 
does make things more interesting when 
people have seen a full season of what 
you've been talking about and, to a large 
extent, can figure it out for themselves." 

But, in reflection on the season past, 
Pierpoint sees a growth in his perception 
of George Francisco. 

"In the beginning, I was creating a 

STARLOG/Novemher 1990 29 



character that there was no right or 
wrong way to play. Playing an alien was 
pretty much an open book. I took the 
baby steps with Ken Johnson and, along 
the way, discovered things about the 
character that neither one of us had in 
mind. 

"That season was like a minefleld," 




he continues. "There were traps to be 
avoided. I had to avoid giving George too 
much of a sense of soul and self and to 
play with the notion of what an alien 
stranded on Earth should be. Developing 
elements of the character and ways to 
display those elements were the biggest 
challenges. The danger was in having 
George become too familiar and too 
predictable. So, while the natural pro- 
gression for this character was to become 
freer as he became more familiar with 
his surroundings, I had to keep going 
back and making George a little stiff so 
he didn't become too human too fast." 

And it was that latter element of 
George's immersion into Earth culture 
that proved the most fascinating acting 
test for Pierpoint. 

"George has many of the best charac- 
teristics of humans but the question re- 
mains whether those are human quali- 
ties or simply being qualities. George is 
trying to fit into the world around him 
and, in doing that, he's probably going 
to adopt some mannerisms that are kind 
of in between both worlds. There has 
been a natural growth in George over 
the season." 

Procedure 

Pierpoint is vague about particular 
anecdotes but does point to specific mo- 
ments involving George that he consid- 
ers memorable. 

"Experiencing pregnancy and giving 
birth was certainly a unique experience 
for me," he recalls. "I was totally into 
the invention of that storyline, trying to 



make the experience entertaining an. 
very real. The episode in which we 
learned that George was a trained as- 
sassin was great for me in a dramatic 
and psychological sense because we 
learned the true depths of G f^g 's de-^ 
spair. ^^|p 

"I felt the episode where George bift*^ 
comes the coach of Emily's Little 
League team was a wonderful comedic 
turn. It put him at a moment in time 
when everyone is totally childlike,^ 
George studied all the stats and kne^ 
all the quotes, but watching his attempts 
to do something with them was price- 
less." 

Watching Francisco interact with his 
Earth partner Matt Sikes (Gary 
Graham) has also been well worth the 
price of admission. Pierpoint likens the 
on-screen relationship to yet another 
formidable alien-human duo. 

"Francisco and Sikes are a lot like 
Kirk and Spock. You knew where they 
were coming from and you knew how 
they were going to react to each other. 
Francisco and Sikes are similar in that 
their relationship tends to become pre- 
dictable, but in a sense, audiences want 
to feel safe in knowing how characters 
are going to react. 

"But they're still incredibly different. 
Sikes is a total cynic with only a drop of 
hope left in him. George, on the other 
hand, immediately goes to the positive 
no matter what's happening to him. 
And because George tends to be so op- 
timistic, things tend to come through in 
his favor." 




niture [an Alien Nation practice 
when the long hours inevitably turned 
the mind to mush], but we knew we had 

ust keep it working." 




"^t^ 



Although Pierpoint (here with producaf Ken Johnson) enjoyed hia character 
beoan "chafina a bit" at it toward season's end. iMt; a 

Pierpoint offers that, despite the 
seeming limitations of their characters, 
he ^^Graham were able to make the g 

mo^w^^their opportunities. , ^ 

"There ^s never engugh time for **■' s 

Gary and I to work on our characters' >, 

relationship off the set, but we got quite , 

good at taking the basic structure of a 
particular episode and inventing things 
on the spot. Granted, many of the^ paces 
our characters went through were pretty 
repetitious, but we would always find 
little theatrical buttons to push ^at /" 

made things different. 

"But coming up with clever twists 
wasn't always easy, and I remember by 
about episode 15, we were both basically 
running on fumes. The exhaustion level -^ 

was extremely high, we were pasting 
more and more of our dialogue on 



-"'~asiri 





Ml 






Francisco and Sikes [Gary Graham] are like Kirk and Spook," says Pierpoint. 



Pierpoint. while giving higii marics to 
the one season's shows, admits that he 
"began chafing a bit at George's character" 
near season's end. Consequently, his ideas 
for where he would like to see Francisco go 
in any potential TV movie are couched in 
dark strokes. 

"I would like to see a dirtier side to 
George's life," says Pierpoint. "Right 
now, he has a family that's pretty much 
perfect and his feelings toward his job are 
high. What I would like to see is how 
George deals with the world around him 
when things don't go quite so well. He's 
trying to be real good in this society. But 
what would happen if we made him a bit 
more dangerous? I think it would give me a 
wide range to play this character. 

"I also think it would be interesting for 
George to have some conflict in the home. 
We've definitely seen that Susan [George's 
wife] is moving out into the business 
world and in different directions. There's 
no reason why that couldn't split up the 
family and cause George some psycholog- 
ical and emotional difficulties." 



investigation 

Eric Pierpoint, the son of former CBS 
News reporter Robert Pierpoint, grew up in 
Washington, DC. In 1977, his budding 
acting career received a real slice-of-life 
boost when he joined the National Players 
touring company and spent a year taking 
classical theater to small-town America. 

"We hit every small theater from New 
York to Denver," he recalls. "We per- 
formed for an audience of 14 nuns in New 
Orleans and 2,000 teenagers in Arkansas. I 
got a terrific education doing that." 

Pierpoint continued to ply his theater 
trade in such off-Broadway and regional 
theater productions as Dangerous Corner, 



A Streetcar Named Desire and 5/v Fo.x. His 
TV credits include appearances in Fame, 
Hill Street Blues and the starring role in the 
short-lived series Hot Pursuit. Film credits 
include Windy City and Dumping Ground. 

Alien Nation is also not the actor's first 
brush with the genre. He portrayed a 
masked killer in an episode of Beauty & 
the Beast and the much-abused Sergeant 
Rinaldi in the Tobe Hooper remake of 
Invaders From Mars. 

"Yeah, I got my head drilled by the 
Martians," chuckles Pierpoint. "It was a 
good role and it was fun to do, but from an 
acting point-of-view, it wasn't totally sat- 
isfying. It wasn't a part I could really sink 
my teeth into. I would go home and say. 



'What did I do today?' My answer was, 'I 
slugged a guy, had a probe put into my 
head and was killed by my own troops.' " 

But when it comes to his work on Alien 
Nation, Pierpoint feels he has managed to 
take Mandy Patinkin's George from the 
original Alien Nation film a step further. 

"My portrayal of George is pretty close 
to what Mandy did in the movie," explains 
Pierpoint. "He's the same sweet, logical 
and innocent guy. The difference is that 
the movie focused so much on the story 
that it really didn't give us much time to 
see too many different sides of George in 
great detail. We only saw his family from a 
distance in one scene. That's the wonderful 
thing about doing this as a series. There's 
time to look at George from every possi- 
ble angle. 

"And that's something I appreciate be- 
cause George is really a character of three 
worlds: his family, his work and himself. 
I'm constantly having to switch gears and 
attitudes and that's a wonderful, complex 
and exciting thing to look forward to on a 
daily basis." 

Eric Pierpoint charges through a series 
of Alien Nation questions. "No, there's 
nothing funny about the makeup. Yes, I'm 
happy with the show's social conscience. 
Yes, I would like to think George and I 
share some of the same elements of 
sensitivity. No, I don't usually get recog- 
nized when I go out in public." 

But when he does, he laughs as he de- 
scribes another incident in which he found 
himself slipping into George, it's 
something to remember. 

"I was in a toy store trying to buy a 
Barbie, and this clerk was helping me find 
the thing I was looking for. My indecision 
on what to buy began to manifest itself in 
my slipping into George. Well, this clerk 
immediately started screaming. She said, 
"Oh my God! You're the Martian! " ■^ 




Before becoming a Newcomer, Pierpoint was enlisted as Sergeant Rinaldi with 
James Karen, Hunter Carson and Karen Black to figlit off Tobe Hooper's Invaders 
From Mars. 



32 STARLOG/Novemher 1990 




Alien Kid 

She's young. She's intelligent. And , 
she's an alien. Life has definitely been 
out of this world for actress Lauren 
Woodland during the first (and last) 
season of Alien Nation. 

"But I'm not obsessed with my charac- 
ter," says Woodland, who portrays Emily 
Francisco, the youngest member of the 
alien family. "I'm not a Method actress. , 
But when I'm getting into the makeup each 
day, I take the time to think about things 
in a different way — sort of like how an 
alien would look at things." 

Woodland is exploring the unearthly 
kid side of the currently-in-limbo Fox 
series not too long after filming the 
show's final episode. And she offers that 
the finale's conclusion prompted some 
mixed feelings. 

"I was happy that we had made it 
through a full season, but I was a little sad, 
too. I wanted to keep working and become 
even more involved in something that was 
already such a great show." 

Woodland claims that the show's writ- 
ers have made sure that Emily has not 
come across as the common kid. "Emily is 
one of those characters that seems to be 
able to go anywhere. She's far from being 
the stereotypical little sister. 

"Emily is as average as a kid on this 
show can be. She's not your typical Earth 
kid with a different look, but during the 
first season, she does seem to be experi- 
encing some of the same problems Earth 
kids have. Emily, in a sense, is confused. 
She wants to be cool and she wants to fit 
in — just like human children. 

"But at the same time, she's intent on 
preserving her alien heritage. We've seen 
hints of the fact that she is sometimes 
having problems dealing with both sides. 
Emily has definitely been influenced by 
Earth and humans. But since she was born 
on the ship, she's tending, at least at this 




"Emily is as average as a l<id on this show can be, " says Lauren Woodland. 



point, to lean toward the alien side of 
things." 

Woodland is vague on specific episode 
anecdotes but does recall "dealing with 
many intense scenes" in the Alien Nation 
pilot and "how much fun doing the alien 
dance was" in the episode "Night of the 
Screams." 

"The shows that have dealt more with 
the family side of the Franciscos have 
been uniformly good for me because, when 
the family faces a situation, it tends to in- 
volve everybody in the cast in one form or 
another. She's a totally different personal- 
ity, she's not human, speaks a different 
language and comes from a different cul- 
ture. It's a great part." 

Lauren Woodland, despite her tender 
age, has spent nearly six years racking up 
numerous film, TV and theater credits. And 
the actress claims that her early introduc- 
tion to show business hasn't caused her 
any second thoughts about the normal 
growing-up process she has missed. 

"I like being around grown-ups and be- 
ing in a grown-up world. I've found that, 
in many situations, I can't relate to people 
my own age." 

Her TV credits include The Dom 
DeLuise Show, Our House, LA Law and St. 
Elsewhere. Film roles for the young ac- 
tress include Body Count, Super Star, 
Rock-A-Die Baby and Rites of Passage. 



Woodland, assuming Alien Nation gets 
a reprieve (as a series of TV movies), says, 
"There are so many things that can be done 
with these characters and this concept. 
There are so many directions we can go." 

And although she has only hints of 
what the future may bring. Woodland does 
unveil some ideas of her own. 

"Emily is basically a shy kid and I 
think more things have to be done to 
bring her out of her shell. We should see 
more of her dealing with situations at 
school. And now that there's a baby in the 
family, she should be a little less carefree 
and a little more responsible. 

"I also believe Emily should start get- 
ting into some of the weird and rebellious 
stuff that Buck has been getting into," she 
laughs. "Emily should become a drummer 
in an alien rock band and wear an earring 
through her nose." 

One potential storyline that Woodland 
knows about is that Emily would go 
through puberty. 

"It wasn't my idea," she winces. "I 
thought it was just a cruel joke the writers 
were playing on me, but yes, it's going to 
happen and I'm not too excited about it. 
They want to put me through all these 
weird alien biological changes. I'm not 
going to say what it is they have in mind, 
but they've got some pretty weird ideas." 
— Marc Shapiro 



STARLOG/Novemher 1990 33 




since he was a small boy, the heavens have 
always beckoned to Brian Tochi. 



Obviously, to be a child actor work- 
ing in the television industry re- 
quires special talents and abilities. 
The actor must be able to memorize di- 
alogue, express himself comfortably in 
front of the camera, and to concentrate on 
what he's doing without being distracted. 
That's one thing. But to be a successful 
Asian child actor in what is a very North 
American-oriented show business industry 
is quite another. 

During Star Trek's third season, in an 
episode titled, "And the Children Shall 
Lead," five kids were needed for pivotal 
parts in the plot. One of those children, 
playing Ray Tsingtao, was a young actor 
named Brian Tochi. 

"1 was doing a lot of television at the 
time," says Tochi. "I heard it was an Asian 
role of some kind that I could fit into, so I 
auditioned for it. Now, I was very much 
into Star Trek as a child! It was great fun. 
As a child actor, acting was a hobby. It 

FRANK GARCIA is a Canadian based 
writer. He profiled Susan Oliver in 
STARLOG #135. 



wasn't a job where I worked, toiled and la- 
bored. One of the things I remember was 
that the people on the show, the cast, were 
all so nice to us kids. 

"Mark Brown, Pamela Ferdin, Caesar 
Belli. Craig Hundley, all of us got along so 
terrifically. Mark Brown and I have re- 
mained friends. When I was working on 
Santa Barbara, he was a page at NBC. 

"I remember one thing in particular: I 
was very rambunctious as a child. I was al- 
ways getting into trouble. I remember 
speaking to Walter Koenig, who set me 
aside, and with his accent and everything, 
he said to me, "You must be a gentleman at 
all times!' And I thought, 'Wow, very in- 
teresting!'" 

Another aspect of the episode that has 
stayed with him is his impression of famous 
criminal attorney and the episode's guest 
villain, Melvin Belli (STARLOG #121), 
who played the Gorgan. 

"He was really terrific," remarks Tochi. 
"He gave us all — at least he gave me one — 
a book he wrote on torts. He was so nice, 
and this was just a hobby for me." 

Unfortunately, as far as most fans are 



concerned. "And the Children Shall Lead" 
was not one of Star Trek's best episodes. It 
was another repetitive story where a group 
of people or aliens tried to take over the 
Enterprise for their own purposes: this 
time, the group was children possessed by 
an off-screen alien. Tochi hasn't let the 
episode's poor quality interfere with his 
pleasant memories of being in it. 

"We had no input [to the story]," he 
explains. "We were hired as actors. And 
I'll tell you. whether it was the worst piece 
of doo-doo or not. I still think it was a lot 
of fun to do. As I look on it now, I was a 
ittle heavy at the time and I thought I 
looked stupid. I was so traumatized by the 
fact that they cut my hair. That was a big 
deal for me as a child growing up, to have 
long hair." 

These days, Tochi likes to have fun 
when he's recognized for his Star Trek role. 
"I'm recognized a lot for the things I'm do- 
ing now. However, there are times when 
someone comes up to me and say, [putting 
on a feminine voice] T know you from way 
back when you were a little kid on Star 
Trek'.' " Tochi then throws his hands up 
and covers his face in shame and embar- 
rassment and whimpers. "Oh no!" And 
whenever he catches someone watching 
the show. Tochi often quips. "Who's that 
silly looking kid?" 

Growing Up 

Knowing that his work is seen all over 
the world doesn't faze Tochi, who has been 
in the acting business long enough to know 
the realities of TV and feature filmmaking. 
"[The part in Star Trek] certainly wasn't 
the largest role in the show," he admits. 
"I've been very lucky that I've worked on 
many different things." 

The Star Trek motion pictures conjure 
up even more memories for the LA native. 

"I hated the first movie," Tochi says 
point-blank. "But I loved The Wrath of 
Khan. Ricardo Montalban was like a fa- 
ther to me. We went on a stage tour with 
The King and I. I have had this endearing 
love for the man ever since I was a child. 
We had a special relationship when I was 
growing up. To see him in the Wrath of 
Khan, it was amazing." 



34 STARLOG/Novemher 1990 



As for Star Trek: The Next Generation. 
Tochi remarks, "I think it's a quality show. 
I love its technical aspects. I have a big TV 
screen with speakers, so when the show's 
on, I can hear the ship's engines and the 
roar — you can really pick out that they're 
there. I would love to do The Next 
Generation. I would give a right arm to get 
into it." 

Back in 1977, Tochi starred as Cadet 
Tee Gar on Space Academy, a successful 
Saturday morning show, with fellow Star 
Trek alumnus Pamela Ferdin and Lost in 
Space's Jonathan Harris. 




Recalls Tochi (in plaid) of "And the Children Shall Lead": "I was a little heavy 
and I thought I looked stupid." 



Recalling his reunion with Pamela 
Ferdin, Tochi says, "We were probably the 
top kid actors at the time. I was at the top 
of the heap as far as Asian actors were 
concerned. I didn't know Pamela was going 
to do it. Space Academy ran three years, 
but actually longer than that if you count 
reruns. It was also the most expensive chil- 
dren's show in television history at that 
time. We had miniatures and special FX, 
so all that was very expensive. 

"On the set, Pamela and I were closest 
in age — but she's older than I am — so we 
got along great, whereas with Ric [Carrot, 
the team leader captain Chris Gentry], she 
didn't get along too well. Maggie Cooper 
[Cadet Adrian] is now married. Ric Carrot 
has become a conservationist. He's out of 
acting, but might try to get back in. Eric 
Greene [Loki, their alien ally], is tall now. 
He's trying to get back into acting." 

When the name Jonathan Harris, who 
played the cadet's mentor Gampu, comes 
up, Tochi breaks into a wide grin. 

"Ah! That was great! Jonathan and I 
remained friends years after the show. 
Jonathan always had a story to tell. I would 
just sit with him and marvel at the stories 
about stage from way back and he would 
have them all. I remember every morning, 




Lately, the actor has been heard— but 
not seen — as Leonardo, leader of the 
Teenage Mutant Ninja Turtles. 



Reunited with Trek co-star Pamela 
Ferdin, Tochi took lessons in SF from 
"witty" Jonathan Harris at Space 
Academy. 

he would bring a whole box of Tootsie 
Pops! He was terrific, so much fun, so 
clever, so witty, so much arrogance. He was 
testy. The first time I met him was at a 
doctor's office — we were having our medi- 
cal checkups for insurance purposes. In 
there were Pamela and Jonathan Harris! I 
went up to him and said, 'How do you do, 
I'm Brian Tochi, what's your name?' And 
he looks at me! 'You do not know me, re- 
ally?' There were always pranks being 
pulled on Jonathan, he was always in the 
center of attention, always commanding 
attention. I was always getting into trouble 
and admiring his genius. He was always 
ready for his job." 

But working on Space Academy was 
more than just fun. 

"Yes, it was kind of work, because we 
were there for a long time. We worked at a 
warehouse that was converted to a studio. 
It was harried because I was commuting 
two-and-a-half hours going and two-and- 
a-half coming back during traffic. It was a 
great, fun show to do. 

"I remember sitting on the spaceship on 
the set. It was such a fantasy for me," re- 
marks Tochi, whose character also became 
a top-selling doll for Hasbro Toys. 

Getting On 

In 1985, Tochi was called one day and 
asked to do a guest shot for the revived 
Twilight Zone on "Wong's Lost and Found 
Emporium" (which writer William F. Wu 
described in STARLOG #104). 

"The special FX for that episode were 
very closely supervised," remembers Tochi. 
"There was a floating globe in the story 
that would follow me around. I remember 
there was a glow on my face when it comes 
by. There were things disappearing, inter- 
esting diodads happening around me... all 
of that was fascinating. 

STARLOG/Novemher 1990 35 




When The Twilight Zone was revived, Tochi 
"Wong's Lost and Found Emporium." 

"When I got the role, I had a day to 
learn it. It came at a time when I was in- 
volved with business. So, I went into the set 
with business matters on my mind. I was 
working at all hours and managed only 



heeded a short notice to be at 



about three hours of sleep before going 
back and doing the show. It was very te- 
dious but also very terrific. 

"The episode was a four-day shoot," 
says Tochi. "I remember walking in to see 



where the set was going to be. All I saw 
was a room with rows of shelves. 'This is 
going to be an interesting set,' I thought. I 
was walking around, looking at all these 
unique little things, so many different 
items on the walls. " 

Most recently, Brian Tochi has been 
keeping busy through a recurring part in 
Santa Barbara and providing voices for 
the live-action Teenage Mutant Ninja 
Turtles and the animated TV series. The 
Bionic Six, reading Karate One's dialogue. 
Doing voiceovers is the easiest of all 
forms of acting, Tochi observes. "You 
come in, you sit down, they give you the 
g script, you look for your parts, and you run 
S through it," he describes. "You make 
~- changes, then you tape it. Real easy! You 
S don't have to worry how you look, you 
£ don't have to shower, you don't have to do 
1, anything if you don't want to." 
§ Of the acting parts he has had through 

his career, which includes roles in Revenge 

1 of the Nerds, The Octagon and St . 
• Elsewhere and as host of an Emmy-win- 
N ning children's TV show. Razzamatazz for 
f, three-and-a-half years, Tochi is proud of 
1 many of them. 

"I certainly loved doing Police 
Academy IV and V because we were a fam- 
ily. I still socialize with those people. I love 
the producer Paul Maslansky and all the 
other people associated with the films. I 
just generally love what I do. I haven't 
really had any bad experiences," says Brian 
Tochi. "I've been fortunate." "^ 




1^^ 



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Adult large size 

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I he question has been asked at just 
about every interview Paul De 
Meo and Danny Bilson have done. 
Is The Flash on a suicide mission? Can a 
guy in a one-piece red suit who moves 
faster than greased lightning overcome 
the unbelievable wholesomeness of Bill 
Cosby and family or the biting, cynical 
hilarity of Bart Simpson and folks? 
Well? Can he? 

"We're in a very tough spot," admits 
De Meo, referring to the television 
bloodbath shaping up for Thursdays at 8 
p.m. "We're going up against a couple of 
shows that have very big audiences. 
Obviously, it's not the ideal position for 
our show to be in. But I think we're cer- 
tainly strong enough to be fighting it 
out in that slot." 

Night 




They're preparing 
to make fast 
work of a comic 
book hero. 



S c ar n 
Speeds, 




By MARC SHAPIRO 




/ % 



^^ 



All Flash Photos: Copyright 1990 Warner Bros. TV 

All Flash Characters: Trademark & Copyright 1990 DC Comics Inc. 




Helping The Flash 
See Red 

Bob Short wasn't being asked to costume Santa 
Claus. But the man with the special effects touch 
I was definitely looking for a Christmas miracle when 
he was picked to create the costume for the Flash TV 
I series. 

"I was frightened by the fact that the Flash, in the 
I comic books, looked like nothing more than a well- 
built guy in a red suit," says Short, the Beetlejuice 
veteran who recently created what he calls "a crea- 
ture effect" for the Arnold Schwarzenegger comedy 
Kindergarten Cop and the hardware for the new 
I syndicated series Super Force. "I thought to myself, 
'What else can I bring to it? What can I bring to this 
I party?' " 

Short wasn't encouraged by the number of 
[ costumed superheroes who had already made the 
transition from four-color flatdom to the more three- 
dimensional surroundings of film and television. 

"Unlike a Batman or Superman, who have things 
like ears and cape lengths that can be played around 
with," he comments, "with the Flash, you basically 
have a guy who looks like he has been painted red. My 
initial reaction was that I had nothing to work with." 

Short met with Flash executive producers Danny 
Bilson and Paul De Meo. They made it clear that they 
wanted a costume with a sinister tone to it, that it 
shouldn't look like a guy in tights, and, most impor- 
tantly, it should look like a makeup effect rather than 
a costume technique. 

Encouraged by this blueprint and the costume 
design work of comics artist Dave Stevens, Short went 
back to his shop, did a little experimenting and came 
up with a 10-pound wonder. 

"We covered John [actor John Wesley Shipp] with 
a bit of Spandex," explains Short. "Then, we sculpted 
foam rubber muscles and applied them over the suit 
on John's real muscles. We then applied a flexible 
sealer of electrostatic nylon and sprayed that over the 
foam rubber and Spandex, creating a surface coating 
that seals the entire outside of the. costume and, when 
filmed, creates the impression of an odd surface 
texture that makes it hard to figure out what the suit 
is made of." 

Short claims that he also modified the costume's 
belt and boots and did a subtle redesign on the cowl 
line to give the Flash more of a scowl. 

"Our concept of the costume," elaborates the FX 
expert, "was to create an impression of the muscles 
being on the inside of the suit. We think we've 
accomplished that by sculpting slightly exaggerated 
replicas of John's muscles, applying them to his own 
muscles and giving the impression of actual 
movement during the action sequences. Some of the 
construction of this suit is the same kind of stuff that 
was done with the Batman outfit, but we feel we've 
given it a more coherent, one-piece look which is the 
look that the Flash has in the comics." 

Short, who read The Flash while growing up, feels 
satisfied that he has helped the scarlet speedster zoom 
onto television with his comic book roots intact. 

"It remains true to the comic book and manages to 
come across with that Batman [movie] look," Bob 
Short notes. "And I would say that's quite an 
accomplishment, considering we started out with just 
your basic superhero in a red suit." 

— Marc Shapiro 




38 SJ/KKLOGINoyen}her 1990 



A long way from an 
executive's idea to have 
the Flash run around in a 
sweatsuit, the costume, 
designed by Bob Short (far 
left), is an extension of the 
actor's body. Here (1), 
project supervisor Doug 
Turner and Rikelie Kerr 
detail the gloves and belts. 
(2) Turner and Lisa Welton 
check one of the latex 
foam leg pieces. These are 
sealed in electrostatic 
nylon to give the suit an 
unusual surface texture. 
Finally, (3) Dave Atherton 
airbrushes shading into the 
outfit to accentuate the 
muscle tone, completing 
the scarlet speedster's 
new "sinister " look. 




"^ i 



Paul l)e Meo and Danny Bilson, the 
sho« "s executive producers, are rij;hl In 
the middle of doins; all the things that 
producers of a rookie network series have 
to do— preppins; the two-hour pilot, co- 
ordlnatinj; scripts, and tellins; anyone 
who will listen why The Flash will be a 
force to contend with. 

"The Flash is going to he intense, 
dangerous and exciting stuff." says a 
somewhat -less- rest rained Bilson. 
"We've taken the traditional elements 
of the comic book and are telling it in a 
very straight manner. We felt that to 
play The Flash the way comic book 
characters have been portrayed on 
television in the past would have been 
stupid. But when Barry Allen gets hit by 
lightning, goes flying across the room, 
lashes into furniture and crashes un- 
nscious to the floor, people may feel 
^Sfortable. But they definitely won't 

ghing." 
TV's Flash (whose comic hero coun- 
'erpart is celebrating half-a-century on 
the page this year) had its origin in a 
two-year-old. unproduced De 
Meo/Bilson script called Unlimited 
Powers. This failed pilot, set sometime in 
the future, brought the offspring of the 
Flash and Green Arrow together with 
Jerry Siegel and Joe Shuster's mystical 
hero Dr. Occult and Legion of Super- 
Heroes member Blok in order to fight 
for justice in a world where that very 
action will brand them criminals. 

"It was a great idea," laments Bilson, 
"but it was just too much for television." 
"But," continues De Meo, "when Jeff 
Sagansky [CBS President of Entertain- 
ment] took over, he decided he liked the 
idea of developing a series using an in- 
dividual character and so we decided to 
do The Flash:' 

The two-hour Flash movie, written 
by Bilson and De Meo, focuses on police 
chemist Barry Allen who, as in comic 
book legend, becomes the Flash when 
struck by lightning while experimenting 
with unknown chemicals. While Allen's 
netabolism shifts into hyper-speed, a 
;ang of motorcycle urban terrorists, led 
ly the psychotic Pike, plots the total de- 
truction of Central City and its police 
>rce. When Allen's brother, also a cop, 
killed by the gang, the combination of 
hat has happened to him and his 
rother's death propels Barry Allen into 
ecoming the crime-fighting Flash. 
John Wesley Shipp portrays the 
Flash/Barry Allen. His long-suffering 
girl friend Iris, who the producers say 
Will drift in and out of Barry's life, is 
played by Paula Marshall. Amanda 
"(Max Headroom) Pays (STARLOG 
#140) will portray scientist Tina McGee 
and Blade Runner's M. Emmet Walsh is 
"*|catured as Allen's father. 

I The Flash costume (see sidebar) was 
Pcreated by Robert Short from a Dave 
•^ Rock eteer) Stevens design. David Stipes 



SJARLOG/Novemher 1990 39 







In a revamping of the superhero's life, 
John Wesley Shipp zooms into the 
ratings race as the Barry Allen Flash. 

handles the visual FX. Heading up the 
writing team are two Alien Nation 
alums, Steve Mitchell and Craig Van 
Sickel, and comic book scribes Howard 
Chavkin and John Moore. 

Quick Thinking 

One thing that longtime Flash devo- 
tees will quickly notice about this prime- 
time Flash is that it appears to play fast 
and loose with comics lore. For instance, 
in the comics, Barry Allen has long 
since been killed off and Iris, whom he 
married, was also thought dead but now 
in some kind of protracted limbo. The 
current Flash, Wally West, who was 
once Kid Flash, is the boy friend of Tina 
Mc(.ce. (Jet the picture? Bilson and De 
Meo do. 

"Wally West has always been a little 
too obnoxious for our tastes," laughs 
Bilson, "and so, we decided to take the 
longest-running and most appealing 
Flash, Barry Allen, and use him." 

"I would have to say that the show is 
a little bit of a hybrid," adds De Meo. 
"We've essentially based the series on 
the Barry Allen Flash in the sense that 
l^^this police chemist and this acci- 
^ gives him his power. But we've 
layed around with some things. 

"Iris is around, but she's an artist. 
We've taken Tina from the Wally West 
Flash and made her a scientist whom 
Barry goes to after the accident. We've 
also taken the unpredictability of the 
Wally West Flash's power, the need to 
rest and eat a lot, and given them to 
Barry Allen. It's a mixture of things, 
but the character is based on what we 
consider the classic version of the 
Flash," explains De Meo. 

A direct contrast to the Batman TV 

series, The Flash will be even 

grimmer than its comic 

book source. 









And in line with that classic ap- 
proach, Bilson claims that viewers 
shouldn't look "for another Incredible 
Hulk:' 

"It's not that simple," Bilson says. 
"There's some humor involved, but this 
show isn't being played for laughs. 
There's a lot of danger, violence, death, 
redemption and everything else. People 
coming into this expecting to see a 
variation on the Batman TV series or 
The Greatest American Hero are going 
to be surprised. The stories are very real 
and the villains are totally bizarre and 
twisted." 

But De Meo warns that said villains, 
which will include such Flash comic bad 
guys as Weather Wizard, the Trickster 
and the Pied Piper, will not play in any 
predictable manner. 

"What we've found is that if you give 
your hero extraordinary powers, you've 
got to give him villains and situations 
that will be worthy opponents," De Meo 
says. "No story or adversary will carry 
over from the pilot. The Flash will face a 
different villain or situation every week. 
But this will not be the villain-of-the- 
week-type situation that Batman had. 

"We'll be adapting the villains the 
same way we did Barry Allen. If there's 
another costumed villain running 
around the city, there will be a specific 
reason why he's wearing the costume. 
And while we're mining the comic books 
for villains like the Trickster, we're go- 
ing to be taking our own direction with 
them. We're toying with the idea of 
making the Pied Piper a female jazz 
musician who works in a club in the 
dirty underbelly of the city. The 
Trickster is going to be a totally crazy 
person who escapes from an asylum and 
who has a definite agenda." 

Bilson adds, "It's not like the old 
Batman series where Milton Berle was 
attempting to be bad. Our villains will 
be really bad. We're also pointing toward 
using many female villains and a few 
super-villains with extraordinarv pow- 
ers." 

Some other specifics, the producers 
confess, have had to be dealt with as 
well. The Flash's distinctive red suit, in 
particular, strikes at Bilson's funny- 
bone. 

"The Flash has been around for 50 
years [the Barry Allen Flash for nearly 
35], and yet, when it came to designing 
the suit, we actually had one TV execu- 
tive suggest that he run around in a grey 
sweatsuit" the co-producer chuckles. 

"There have been some slight modifi- 
cations in the basic costume," offers De 
Meo. "We changed the color of the boots 
from yellow to red and we've played 
around ever so slightly with the insignia. 
We've also added some changes to the 
cowl to give our Flash a more predatory 
look. We feel they were important 
changes because we didn't want to leave 
(continued on page 44) 



Ilie Pages oi SIAIiLOG MAGAZINE Come Alive al,... 



SIARLOG 




JANUARY \2-M 



ANAHEIM 



BUENA PARK HOTEL • 7675 CRESCENT AVENUE • 11AM TO 7PM DAILY 



IN PERSON GUEST CELEBRITIES 

. PATRICK STEWART (Capt. Picard of STNG) 

• KEVIN PETER HALL (PREDATOR & HARRY & the hendersons) 

. DEMISE CROSBY (TASHA of STNG, star of PET SEMETARY) 

• JOE BARBERA (co-founder of HANNA-BARBERA) 

• BILL MUMY (Will Robinson of LOST IN SPACE) 
• IRENA IRVINE (Jamie of BEAUTY AND THE BEAST) 



plus many other celebrities to be announced. 
EACH DAY WILL BE TOTALLY DIFFERENT Attend the entire weekend to see everythingi 



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only. To order advance tickets or packages: use Mastercard or Visa and call toll-free (800) TV ALIVE, 10:30am to 5pm EST. There is a $2 
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raN NEmoRK 



compiled & Edited by EDDIE BERCANZA 




SP Directory 

Please note: inclusion here does not indicate 
endorsement of any club or publication by 
STARLOG. And STARLOG is not responsible 
for information or spelling errors in these 
listings or changes in membership fees and 
privileges. Always write first to any organiza- 
tion, including a self-addressed, stamped 
envelope (SASE) to confirm information, 
membership costs, subscription rates and the 
club or publication's continued existence. 

Attention: Not listed here? It is not our over- 
sight. You haven't sent information to us. Please 
write to SF Directory, STARLOG, 475 Park 
Avenue South, NY, NY 10016. Provide all perti- 
nent information on club/publication type, 
sanctioning, mailing address, yearly 
dues/subscription rates and membership kit. To 
facilitate inclusion, please provide info in the 
style that follows, typed double-space. These 
will be listed free at STARLOG's discretion. 

FAN ORGANIZATIONS 

PHOENIX 

A club of anything that is considered fannish. 
Sanctioning: Just a bunch of fans. 
Address: Mark A. Ernst 

P.O. Box 82 

Canterbury, NJ 03224-0082 
Yeariy dues: Initial dues are $3. Dues are often 
collected as needed to cover expenses of rimning 
an amateur press alliance (APA). Make checks 
and money orders payable to Mark A. Ernst. 



Questions about cons listed? 
Please send a self-addressed, 
stamped envelope to the address list- 
ed for the con. Conventioneer: 
Send all pertinent info no later thail 
5 montl^ prior to event to STAR- 
LOG Con Cafcndar, 475 Park Ave. 
South, NY, NY 10016. STAJILOG 
makes no guarantees, due to space 
Itmitatioas, that your con *vUl be 
listed here. This is a free service; to 
ensure a listing is STARLOG— nor 
here but elsewhere — contact Cotmie 
Banlelt (212-689-2830) for classified 
ad rates & advertise there. 

OCTOBER 

ROVACON 

October 5-7 
Salen Civic CeKer 

Salem, VA 

RovaCon 

P.O. Bra 117 

Salem, VA 24153 

(703) 389-9400 

Guests: Forrest I Ackennan, John 

Gardner, Hal Clement, Brinke 

Stevess, Deanna Lund, George 

Alec Errmger & Spice Williams 

VALLEYCON 15 

OctaiKrS-7 
Regeiic>' iBti 
MoofebcMi. MN 

ValleyCon 15 
P.O. Box 7202 
Fargo, ND 58109 
Guest: Phil Foglto 
(701) 280-1400 Of 
(701) 280-1445 or 
ai8) 23«-8357 

CINCINNATI COL- 
LEaABLES CON 

OclalKr7 

Sbenao«-Spiulgllili Hotel 
CiKinnti, OH 

JBS Enterprises 
c/o ieff £bruce 
369 Fairbanks Avenue 
Cincinnati, OH 45204 
(513)251-8324 



October U-14 

Marriott's Hut VOey lui 

Cocket-sviDe, MD 

OktoberTrek 

6656 Aspem Drive 

Bkridge, MD 21227 

(301)37»«30 

Guests: DeForest Kelley, Gates 

McFadden, Carmen Carter, 

Howard Weiostein & STARLOG 

Editor David McDonnell 

TREKFEST 
HOUSTON 

October 13-14 
HoCday Ini Wed 
Houston. TX 

Trekfest Houston 
P.O. Box 17825 
Plantation, FL 33318-7825 
(305) 474-7300 
Guest: James Doc^an 

CON-CEPT 90 

October 13 
Maritime Hotd 
Moatnal, QKbec, Caaada 

Con.cqM90 
P.O. Box 405 
Station H 
Montreal, Quebec 
H3G 2L1 Canada 
Guest: Barry B. Lorfgyear 

LACRANGECON 

October 19-21 
aeveiud,OH 

LagrangeCon 

P.O. Box 1 193 

Cuyahoga Falls, OH 44223 

Guests: Patrick Stewart, Canneo 

Carter & David McDonneU 

CON*STELLA- 
TION iX 

October 19-21 
Shentofl !■■ 
Hnntsvjle, AL 

NASFA 
P.O. Box 4857 
HuntsviUe, AL 35815^57 
Guests: Lois McMafSer Bujold & 
C.J. Cheiryh 



October 26-28 
Amerkaaos Ceater 
Meusba, WI 

Star Con '90 
62 Racine Street 
Menasha, WI 54952 
(414) 725-2555 



SOONERCON 6 

November 2-4 
Ctalrat Plaza Hotel 
Oldakoma CHy, OK 

Soonercon 6 

P.O. Box 1701 

Bethany, OK 73008 

Guest: Lois McMaster Bujold 



NECRONOMICON DREAMWERKS 



October 26-28 

HeBday laa-AsHcy Plaia 

Tamin, FL 

Necronomicon 

P.O. Box 2076 

Riverview, FL 33569 

(813)677-6347 

Guests: Jack C. HaJdeman II, 

Lawrence Watt-Evans & 

J.M. Dillard 



DREAMWERKS 

October 2« 

Ttc Hold Syiacase 

Syracase, NV 

Dreamwerks 

BoxN 

Crugers, NY 10521 

(914) 739-3191 

Guests: Colm Meaney & 

STARLOG's David McDonnell 

DISNEYANA 

October 28 

Best Westeta Wcstpark Hotel 

McLeaa. VA 

Annapolis Marketing, Inc. 
6506 Pyle Road 
Bethesda, MD 20817 
(301) 320-6974 
(301) 757-6182 



SCI CON 12 

November 2-4 

Holiday Execative Ceater 

Vo^ia Beack, VA 

Sci Con 12 
Dept. ST 
P.O. Box 9434 
Hampton, VA 23670 
Guest: Bob Eggleton 



November 3-* 

Sberatoa Hanisbarg West 

New CuiBberlaad, PA 

Dreamwerks 

BoxN 

Crugers, NY I0S2I 

(914)739-3191 

Guests: Mark Lenard, Howard 

Weinstein & David McDotmell 



ALPHA-CON 

November 3-4 
Gtiffia Hotel 
Leeds, Ei^laad 

Alpha<ron 

c/o Neil Swain 

P.O. Box 93 

WakefleM 

WFI IXJ, England 

Guest: Gerry Anderson 

ORYCON 12 

Noveariicr 9-11 

Red Uoa/<>ilwBbia River 

Portaad.OR 

OryCon 12 
P.O. Box 5703 
Portland, OR 97228 
(503) 283.0802 

WINDYCON XVII 

November 9-11 

Hyatt Reteacy WoodMd 

Woodfidd, n. 

Windycon 
P.O. Box 432 
Chicago, IL 60690 

DREAMWERKS 

Noveeiber 10-11 
Tke Iraa Temple 
Wiikes-BaiTe, PA 



Dreamwerks 

BoxN 

Crugers, NY 10521 

(914) 739-3191 

Guests: Wil Whcaton & David 

McDooneB 



VULKON-ST. 
PETERSBURG 

November 17-tS 
St. Petetsboif HBtoa 
St. Petenburg, FL 

VulkOB 

P.O. Box 786 

HoUywood, FL 33022 

(305)457-3465 

Guests: Marina Sirtis, Micfaad 

Dom, Jeaime Dillard & David 

McDonneU 



WHO PARTY 
WEST 3 

Noveariicr 18 

Coast Plaza Hotd 

StaaleyPaik 

Vaocoover, B.C. 

Who Party West 3 

c/o #1408-1005 Jervis Street 

Vancouver, B.C. Vffi 3R1 

Canada 

Guest: Nicola Bryant 



STARBASE INDY 

November 23-25 
Msiiott Hold 
ladiaaapolis, IN 

Starbase Indy 
P.O. Box 50684 
Indianapolis, IN 462500684 



BRITISH TV 
CELEBRATION 

Noveabn 23-25 

CMcago Hytft Rescacy O'Hate 

Ctkago, IL 

Her Majesty's Etttertainment 
P.O. Box 34484 
Chicago, IL 60634-0484 



CONTEX 8 

Nsverixr 23-25 
iflltim Soatkwest 
HoBStoa, TX 

Friends of Fandom 
P.O. Box 266996 
Houston, TX 77207-6996 
(713) 729-6733 



HUTTCON 



NovoBber 23-25 
Diploflut Motor I^ 
St. KiMa, Mdboane, 
HuttcoD 

c/o Edwina Harvey 
12 Flinders Street 
Matraville, 2036 
NSW Australia 
Guest: Simon Jones 



CREATION CON 

Noverixr 23-25 

PetiaHotd 

New York, NY 

Creation Convetttioas 

145 Jericho Turnpike ;* 

Mineo!a,NY 11501 

(516) SHOWMAN 



TROPICON 9 

November JM)ecember 2 

Fort LiadenWe Aiipon 

HiltoaHotd 

Fort Laoderdale, FL 

SFSFS Secretary 

P.O. Box 70143 

Fort Lauderdale, FL 3J307 

Guest: Hal acment 



JANUARY 

DREAMWERKS 



/ 26-27 
TV Laadmatk Hold 
Metairie, LA 

Dreamwerks 

BoxN 

Crugers, NY 10521 

(914) 739-3191 

Guests: Colm Meaney & 

David McDonnea 



Membership includes: Bi-monthly mailings 
ranging in size from 50-200 pages average to 
which you are required to contribute a minimimi 
of four pages every three mailings. You will 
receive a copy of the closest available mailing as 
soon as your dues are received, as well as a copy 
of the by-laws explaining exactly how we work. 
For a copy of these by-laws without joining or 
for more information, please send an SASE. 
Areas of interest: Our largest topics of discus- 
sion tend to revolve around SF, comics, movies. 
Trek, Next Generation and music. There are 
strong interests as well in Japanese and other 
animation, SCA, Monty Python, television. 
Bond, Dr. Who, Blake's 7. 

GAVLACnC NETWORK 

An international organization for gay people 
who are interested in SF. 
Sanctioning: None 
Address: Gaylactic Network 

P.O. Box 1051, Back Bay Annex 

Boston, MA 02117-1051 
Yeariy dues: $15 (US/CAN), $25 (overseas) 
Membership includes: A quarterly newsletter, 
Gaylactic Gayzette, and a directory and quarter- 
ly updating members. 

STAR TREK CLUBS 

MICHAEL DORN APPRECIATION 
ORGANIZATION 

Sanctioning: Michael Dom 
Address: MDAO 

P.O. Box 185 

Ellicott City, MD 21043 

Attn: Marc B. Lee 
Yeariy dues: $18 (US), $22 (overseas) 
Membership includes: Bi-monthly newszine, 
Dorn, various bonuses, pen pals and respect. 

THE OFTICIAL COLM MEANEY 

FAN CLUB 

Club for the actor who portrays Transporter 

Chief O'Brien now forming. 

Sanctioning: Colm Meaney 

Address: J.M. Dougherty 

97 2nd Street 

West Fairview, PA 17025 
Write for more info and submissions. 

FANS OF LEONARD NIMOY 

New club now forming. 
Sanctioning: None 
Address: FOLN 

P.O. Box 620503 

Littleton, CO 80123 
Yearly dues: None (postage only). Send long 
SASE for information. 

Membership includes: Free photo, monthly 
newsletter & pen pal service. 

THE STAR TREK WRITERS CLUB 

Sanctioning: None 

Address: S.T.W.C. c/o Bart A. Lane 

4032 8th Avenue NE Suite #9 

Seattle, WA 98105 
Yeariy dues: $20. 

Membership includes: Bi-monthly publication 
dedicated to novice writers. Submissions 
wanted. 

STARFLEET COMMUNICATIONS 

Star Trek club dedicated solely to being an Inter- 
national Pen Pal Center. Will help you get in 
touch with other fans with same interests. 
Sanctioning: None 
Address: Starfleet Communications 




P.O. Box 388021 

Cincinnati, Ohio 45238 
For more information about Starfleet Com- 
munications, send a SASE to the above address. 

U.S.S. SARATOGA 

New Star Trek fan club for the Southeastern 
Michigan Area, looking for fans interested in the 
fun aspects of Trek and the 23rd century. Club 
meets for the sole purpose of enjoyment of Trek 
and SF. 



Sanctioning: None 
Address: U.S.S. Saratoga 

PO Box 050262 

Roseville, MI 58305-0262 
Yeariy dues: $25. 

Membership includes: ID card, T-shirt, cap and 
patch. Membership meeting locations will vary 
depending upon events to be scheduled. All 
meetings held in the Detroit Metropolitan area. 



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THE OFFICIAL 



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Flash 



Hunter 



(continued from page 40) 

any doubt in people's minds that our Flash 
was capable of kicking ass." 

And that, recalls De Meo, turned out to 
be of major consideration in finding the 
actor to play this superhero. 

"We found many people who wanted to 
do it, but when we showed them a picture 
of the suit, most didn't have the confidence 
to even put it on because they felt they 
would look silly. In John's case, we got real 
lucky in that not only was he physically the 
type of person we were looking for, but he 
was also real enthusiastic about the role." 

De Meo, in talking about the suit, ex- 
plains that as tempting as it was, they de- 
cided to skip the old comic book concept of 
having the Flash costume unfold out of 
Barry Allen's ring. 

"It would have been fun to do, but it 
would have stretched the sense of reality 
we're trying to achieve. We feel his carry- 
ing the suit folded up in an aluminum 
briefcase will serve our purpose." 

De Meo touches on the subject of the 
Flash's home base. Central City, and the 
fact that, while there are some similarities 
to Batman's Gotham City, "it won't be 
quite as extreme. We're not using many 
matte paintings and things like that. Our 
Central City has the look of a slightly al- 
tered reality. It's neon lit with a lot of art 
deco facades. There's a definite film noir 
look to what we're doing." 

All things being equal. The Flash seems 
like a good idea, but it remains to be seen 
why the Flash should be given his own TV 
series as opposed to, say, such SF comic 
heroes as Tommy Tomorrow or J'Onn 
J'Onzz, the Martian Manhunter. 

"Doing the Flash is a good idea at this 
point in time," says De Meo, "because we 
have the technology to present the charac- 
ter the way he is presented in the comics. 
We can show the blurring speed images. 
We can also show another side of Barry 
Allen besides his crime fighting, that his 
normal life happens to include cleaning his 
apartment in a matter of seconds or run- 
ning to New Jersey in a couple of minutes. 
This is something a '90s audience can see 
and get involved in." 

Once again, the question is broached 
about The Flash's realistic chances in a su- 
perstar Thursday night battle. 

Bilson takes his shot after betting that 
The Flash will ultimately wind up with an 
8:30 start time. 

"First off, I think The Simpsons are go- 
ing to knock off Coslyy," he remarks. "But 
after The Simpsons, if you've got the 
choice of watching that Fox show about 
three fat women living together [Babes], 
the second half of Father Dowling 
Mysteries, A Different World or the biggest, 
most exciting action show of the past 20 
years, which one are you going to watch? 

"Certainly, it isn't going to be the sec- 
ond half of Father Dowling." ^ 

44 STARLOG/Novemher 1990 



(continued from page 28) 

was a contract player at Fox at the time, I 
believe, and Zanuck was very interested in 
her, so we saw a lot of him — he wasn't part 
of the picture, but he would hang around 
because of Linda. She was very pretty and 
very bright. And Maurice Evans [Laughs], 
I remember they had to keep taking his wig 
off all the time because he perspired so! 
They would take it off and [fanning the top 
of her head] try to cool his head down! 
Fortunately, as an orangutan, he had a lit- 
tle less makeup than the rest of us, but he 
survived absolutely marvelously. We were a 
little worried because of his age, but except 
for the heat, he had no problems. 
STARLOG: Many actors would probably 
insist on a stand-in whenever they could 
on a picture like that. 
HUNTER: The only time 1 insisted on it 
was when we were all on horses, wailing 
for the blowing-up of the cave. I'm not 
that good a rider — I'm not an expert at 
all! — and I was terribly afraid I wouldn't be 
able to control the horse if it were bugged 
by the explosion. 1 didn't think it made any 
sense for me to tackle that one, since we 
still had a few more scenes to do and they 
couldn't write me out. They got a guy to 
put on my makeup. 

STARLOG: But that's you in the other 
riding scenes? 

HUNTER: Yes, and it was tough. Our 
"ape feet" were much longer than our real 
feet, and they had "thumbs" jutting out to 
one side. So, to put your foot in a stirrup 
was really silly. You could put the whole 
foot through, including the thumb, and 
then you could never get your foot out;^or 
your could put only the toes in, and then it 
was floppy. There was no control at all. 
STARLOG: How long were you on Planet 
of the Ape si 

HUNTER: About three months. Beneath, 
I was on longer than expected because the 
weather was cockeyed and most of my stuff 
was outdoors. Escape was then cut short, of 
course — budgets change when you're 
making sequels, don't they? That one only 
took a month or six weeks. 
STARLOG: It posed a few heavy ques- 
tions, but Escape was the most light- 
hearted and charming of the Apes pictures. 
HUNTER: 1 liked that one. I mean, it 
wasn't any easier in terms of the 
makeup — in fact, it was very peculiar, be- 
cause Roddy and I were the only chimps. 
Although the atmosphere on the set was 
very friendly and fun, Roddy and I both 
felt "out of it." John Randolph, an old, old 
friend of mine, was in it, and I grabbed 
him and asked, "Am I being paranoid or 
something?" He said, "The problem, Kim, 
is that I know in my head that underneath 
all that makeup, it's you, but I can't keep 
that in my mind all the time!" For some 
reason, the [human] actors tended to keep 
us at arm's-length on that one because 
they couldn't quite ignore the barrier of 



the difference! 

STARLOG: Did you think Beneath and 
Escape were worthy sequels? 
HUNTER: I didn't think Beneath was, 
particularly; Escape I do, that was interest- 
ing. Then, I saw the fourth one. Conquest 
of the Planet of the Apes, and I was mezzo 
e mezzo about it, so I never did see the 
fifth. 

STARLOG: Would you have kept going 
with the series if you had been asked? 
HUNTER: They asked me if I would do a 
guest shot on the TV series. And I said no, 
thank you. I was very glad I was killed off 
in the third! 

STARLOG: You did a film called Dark 
August, about a witch, that got little or no 
release. 

HUNTER: They tried to release it but 
couldn't — I heard that they released it in 
South America, and then I haven't the 
foggiest notion whatever happened to it. I 
don't think I ever saw it. It was about a guy 
who accidentally killed a child who ran out 
in front of his car. He was exonerated by 
the courts because of the accident's nature, 
but the child's father put a curse on him. 
And the curse was working, so he had to 
find a "good" witch who would take the 
curse off. I was the witch and we had a 
seance to get rid of the curse. Well, we got 
rid of the curse all right, but I got killed in 
the process! [Laughs.] 

STARLOG: How about The Kindred, 
with Rod Steiger? 

HUNTER: I know nothing about that, I've 
never seen it. I went out to LA for two 
days' shooting — I played a woman in a 
hospital bed— and left. Rod Steiger seemed 
to enjoy doing the picture, but it got such a 
bad review I wasn't eager to see it. 
STARLOG: And your latest film is Two 
Evil Eyes, a two-in-one Poe thriller. 
HUNTER: It's funny, but our director on 
that, Dario Argento, has a daughter who's 
living in this apartment building now — she 
just moved in a short while ago. The two 
directors, the Two Evil Eyes, are Argento 
and George Romero — Romero lives in 
Pittsburgh, but they brought Dario over 
from Italy and made the film in Pittsburgh. 
The segment I was in, along with Martin 
Balsam and Harvey Keitel, was "The 
Black Cat." Martin and I play next-door 
neighbors who have a feeling something 
odd is going on in the house. 
STARLOG: Plans for the future? 
HUNTER: Oh, I haven't the foggiest what 
they are. At this age, there aren't really 
that many roles, unless Driving Miss Daisy 
changes everything around [Laughs] and 
they start writing for us again. But right 
now, there aren't that many roles in films 
or TV in general, although there still are 
bloody good roles in theater every now and 
then. When it comes to films, sometimes I 
do them simply because I want to work — I 
think that's true with Two Evil Eyes, 'cause 
I certainly had very little to do in it. I'm 
not retired, if that's what you're asking — 
not on purpose, anyway. I'm just unem- 
ployed! [Laughs.] I take it day by day. •^ 




By BILL WARREN 

oUywood marches on. Having left 
the town of Hollywood itself 
(except for Paramount), and having 
engulfed Culver City and Burbank long 
ago, the movie industry began to browse 
on greener pastures, such as Valencia, just 
north of LA, where a great deal of stuff has 
been shot over the last few years. 

And now, ever eager for expansive — 
but not expensive — shooting locations, 
moviemakers have eagerly pounced oit 
Saugus, California. A vast former glass 
factory was thrumming with activity in 
February 1990. Over here. Child's Play 2 
was rolling; down there, last-minute pick- 
ups were being done for Total Recall and 
RoboCop 2. 

Right here, in this vast, hangar-like 
building. Eve of Destruction is busily near- 
ing the end of its shoot. Director Duncan 
Gibbins is overseeing this robot-on-the- 
rampage psychological thriller which 
stars the unlikely team of Gregory Hines 
and Dutch actress Renee Soutendijk. 

The chilly, cavernous room is filled 
with the sounds of saws and hammers, and 
the resinous odor of freshly-cut wood, the 
usual sounds and smells of any movie set. 
This building, about the size of three foot- 
ball fields, is utterly different from a 
soundstage, where the sound insulation, 
the catwalks and the dimness always keep 
the visitor aware that here, movies are 
made. This place has a temporary feel. 

But the reason for its use is obvious, 
for in the middle of the giant room is the 
Lexington Avenue subway station. Not 
plucked out of Manhattan and dropped 
bodily here, but carefully re-created. 
Somehow, it's even more disconcerting 
than usual to walk onto this set, because 
except for the ends, where the rails disap- 



Dr. Eve Simmons 
(Renee Soutendijk) 
must team with 
military man 
McQuade (Gregory 
IHines) to track 
down her lethal 
cybernetic 
counterpart. 



AS time 
rampages 



ticks away, a female terminator 
across America. And the heroes? 
're psychoanalyzing her. 




- \ 


rTiC 


r- 


p 


%\ 




^~1 


\j^J . 





STARLOG/November 1990 45 



Intended to defuse liostage situations. 
Eve vm is short circuited on her test run. 




Acting out Dr. Simmons' inhibitions, Eve 
VIII takes back custody of "her" son, 
Timmy (Ross Malinger). 





1 





pear almost but not quite to infinity, the 
station is totally re-created, top, bottom 
and walls. 

Veteran cinematographer Alan Hume 
was pleased with the set. "It's so well-de- 
signed, this set, that they put all the light- 
ing in as per the real station, and our film 
stock is so bloody marvelous these days 
that I put the minimum amount of light 
over the top of this. If you look over 
there, you'll see some lights hung up in 



the beams, and that's really all one needs 
to do." 

Hume has been around the block, so to 
speak, having filmed, among other 
movies. Return of the Jedi, For Your Eyes 
Only, Octopussy, A View to a Kill, 
Supergirl, Lifeforce and a passel of lower- 
budgeted genre films, such as At the 
Earth's Core, The People that Time 
Forgot, Warlords of Atlantis and The 
Watcher in the Woods. . 



46 STARLOG/November 1990 




down between the movie's two Eves takes 
place. (Yes, the title is a pun.) In black 
leather miniskirt and red leather jacket. 
Eve VIII (Renee Soutendijk), an android, 
strides along the track carrying young 
Timmy (Ross Malinger), intent on 
"rescuing" him. The problem is that Eve 
VIII doesn't know the atomic device 
within her is due to explode momentarily. 
She doesn't even know she's not Dr. Eve 
Simmons (also Soutendijk), the scientist 
who created the robot in her image, pro- 
gramming it with her own mental patterns. 



Enthusiastic producer David Madden, 
who also produced The First Power, is 
friendly and outgoing, more like one of 
the crew than the Big Boss. Crew members 
joke with him, and are clearly glad to see 
him on the set — and he's frequently there. 

Like most of the people STARLOG 
talks to. Madden freely admits that Eve of 
Destruction does have some similarities to 



"It has been a hard shoot for me," the 
British DP (director of photography) ad- 
mits. "We did three weeks of night work, 
12 hours minimum, but sometimes 14 to 
16 hour days, a lot of rain, gunfire, police 
activity, helicopters landing, vehicles 
coming and going, so it really has been 
hard going. A little bit like a James Bond 
film in that regard, two or three cameras 
going most of the time." 

The subway set is where the final show- 



Simmons' id is again unleashed as the 
robot has her way with men. 

other killer-robot films, including 
Terminator. But, he says, "It's as if 
Michael Biehn or Arnold Schwarzenegger 
were playing both characters in 
Terminator. The Terminator is a killing 
machine, and that's all he is. Eve VIII is 
more similar to Frankenstein's Monster — 
we try to give her a psychology, in some 
sense. We want to work on the same 
action-adventure level Terminator worked 
on, but we're also trying to do a more 
complex, human-interest story at the same 
time." 

The story does indeed sound like it adds 
another dimension to the now-familiar tale 
of an android run amok. Eve VIII was 
designed for use in hostage situations, to 
be undetectable as a robot, at least under 
cursory examination. The idea is that she 
will walk into a hostage situation, and 
take over. Just in case she's not persuasive 
enough, she does have a small nuclear de- 



vice tucked away inside, one that can dev- 
astate 20 city blocks. 

She's sent out, as Madden says, "on a 
fairly routine test run. She's to walk into a 
bank in San Francisco, withdraw some 
money from the teller, and leave the bank 
without anyone noticing she's not human. 
Someone is [in the bank] monitoring her, 
to make sure she's OK." But of course, 
there wouldn't be a movie if things went as 
planned — and Eve VIII walks into a bank 
robbery. 

The panicked robbers kill the person 
monitoring Eve VIII, and when the con- 
fused Robot won't lie down, shoot her as J 
well. This smashes the monitoring 
devices, and deranges the robot. "Please 
don't do that," she says calmly to the bank 
robber. "I'm very sensitive." (This 
recurring phrase, some early viewers of the 
film report, recurs too often.) She tosses 
the robber through a window and] 
disappears into San Francisco. 

Enter McQuade, played by Gregory 
Hines. He's an expert military marksman 
brought in to destroy Eve VIII. Hines, at 
first glance, may seem an odd choice for 
the role. Not really, say both Madden and 
director Gibbins. 

Except for Tap, Hines has rarely played ^ 
the solo lead in a film; he's generally the 
white lead guy's best pal, the wise- J 
cracking back-up, the co-hero. (As in 
Wolfen. Off Limits, Running Scared, Deal 
of the Century and White Nights). Here, he 
is "the hero of the piece," claims Madden. 
"As he said at our first meeting, 'If this 
works, the audience will be cheering me at 
the end.' Being charming comes easy to 
him; he's very personable in real life, and 
he has played that type of character. We 
worked very hard to toughen the McQuade 
character up, to get him to react in short, 
sharp bursts. Gregory found it very tough 
at the beginning to do that, but now it's 
second nature to him. He turns in a really 
good performance, very charismatic — a 
movie star performance. 

"For the military guy, we wanted to be 
sure we didn't cast the established, stan- 
dard guy who wields a machine gun and can 
blow away a lot of people," Madden 
explains. "We wanted someone who had a 
level of humanity and likability, whom 
the audience could identify with and care 
about. Gregory is convincingly athletic, 
and convincing as the military intellect 
he's playing, but he also has a wry 
charm." 

Eve VIII has now disappeared, but no 
one knows where. When reports of her ac- 
tivities come back, they indicate 
something eerie: She is beginning to live 
out all the repressed longings and desires 
of workaholic Dr. Eve Simmons. When 
younger. Dr. Simmons never went into 

BILL WARREN, veteran STARLOG corre- 
spondent, is the author of Keep Watching 
the Skies Vols. 1 & 2 (McFarland, $39.95 
each). He profiled Christopher Lee in 
STARLOG #158. 

STARLOG /November 1990 47 




"I have always seen the movie as a psychological thriller with the hardware as a 
gimmick," notes director Duncan Gibbins of his "science faction" film. 



bars and allowed herself to be picked up, 
but always had a desire to — so that's what 
Eve VIII does. (Too bad for the guy who 
picks her up.) Dr. Simmons dresses 
conservatively, but has a longing for 
flashy clothes — so Eve VIII dresses 
sexily. (Too bad for the nasty clerk in the 
clothing store.) Dr. Simmons 
relationship with her father (Kevin 
McCarthy) was always difficult, so Eve 
VIII settles it. (Too bad for Mr. Simmons.) 

At one point, a nasty driver of a BMW 
tries to get revenge on Eve VIII. and runs 
her off the road — too bad for the nasty 
driver. And potentially for many other 
people, for this accident triggers the 24- 
hour timer on the nuclear device. 

Meanwhile, McQuade and Dr. 
Simmons, initially hostile, have to do 
something remarkable to find the rur>away 
robot: They have to psychoanalyze Dr. 
Simmons. What are her repressed desires? 
Who is she really'} At the beginning. Dr. 
Simmons is more like a robot than the 
robot, but through the film, she becomes 
more human and Eve VIII more mechani- 
cal. But that doesn't stop Eve VIII from 
trying to reconcile Dr. Simmons" greatest 
guilt: She had relinquished her young son 
to her ex-husband, who lives in New York. 



Hence the Lexington Avenue subway 
station. 

Female Terminator 

Renee Soutendijk picks up quiet, self- 
contained little Ross Malinger, who. on 
cue. begins screaming and crying. She 
marches along the track with a frozen, 
single-minded expression as the camera 
moves toward her. This take is done sev- 
eral times, and Soutendijk is replaced with 
a realistic dummy double for the climax. 

Soutendijk is not widely known in the 
United States, but those who have seen her 
in her European films, or the mini-series 
she has starred in (such as Murderers 
Anions ^s with Ben Kingsley), know 
she's an impressive talent. She has an 
edgy, intelligent quality to her playing 
that's quite distinctive. If you can. seek out 
the videos of the two films she made with 
Paul (Total Recall) Verhoeven, Spetters 
and, particularly. The Fourth Man. (Her 
last name is pronounced SO-ten-dek.) 

Her American accent is very nearly 
perfect, betraying her non-U. S. origins 
more in occasional odd word choices than 
by any kind of inflection. She says, for 
example, "I would not so much like to be a 
star in America," What she wants Eve of 



"I hope I won't be offered films like 
Terminator-and-a-Half after this," 
laments Soutendijk, here being prepared 
for robo-action. 

Destruction to do for her is show that she 
is "an actress capable of playing many 
things. I don't want to be typecast; I hope 
I won't be offered films like Terminator- 
and-a-Half after this. It was great to also 
have the scientist to play, the more human 
and natural side." 

In fact, she admits that "I would have 
thought longer about playing this if the 
part of the scientist had not been there. If I 
had only done the robot, I would have 
doubted more that it was a good choice to 
do it." 

She laughs at the suggestion that the 
way for Dutch moviemakers to break into 
American movies is to make a film about a 
powerful robot. After all, that's what her 
former co-star Rutger Hauer did in Blade 
Runner, and the kind of movie that her 
former director Paul Verhoeven first made 
here, with RohoCop. 'T think this is very 
different from Terminator or RohoCop or 
other films with robots." Soutendijk 
claims. "I try to portray her as being very 
human. She's very unpredictable and ex- 
treme in her behavior, and becomes more 
obsessed and confused." 

Playing both roles was an interesting 
challenge for Soutendijk. "At first, when I 
started preparing for this part. I wanted to 
have a lot of difference between one and 
the second, but in fact, there shouldn't be, 
because the scientist has programmed this 
robot with all of her own information. So, 
it was more interesting to start off closer 
together, and then make them more and 
more different toward the end. Both char- 
acters go through different stages in the 
film, which for me made it very interesting 
to play. 

"The robot is much more focused, in the 
moment, or in a memory. Her eyes are 
different — at least, that's what people 
around me say. I get very scary eyes when I 
play the robot." 

Duncan Gibbins, originally from 
England, has lived in the U.S. for five 
years. Eve of Destruction is his second fea- 
ture; his first was Fire with Fire. In 
England, he began as a journalist, moved 
into documentary production for the BBC, 
and ended up directing rock videos, for 
Wham!, George Michael, Glenn Prey and 
others. He co-wrote the script of Eve of 
Destruction with Yale Udoff; their previous 
script. Third Degree Burn, was directed by 
Roger Spottiswoode for HBO. 

While writing the script, Gibbins knew 
he and Udoff were on to something a bit 
different when they came up with the idea 
of the robot's journey through Dr. 
Simmons' past and repressed desires. "You 
start with the hardware, the robot, and then 
you start with the scientist. When we 
injected the emotional content into the 
piece, when the robot started going back 
through the scientist's life to sort things 
(continued on page 62) 



48 STARLOG/Novemf?er 1990 



■STAKLUU IKAUIliU ru>l 



THE OFFICIAL 

MAGAZINES! 

STAR TREK: 

THE NEXT 

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In worlds below & above, George R.R. Martin walked with Vincent. 



I 




I 



k 



I 



Part One 



.IDWARD GROSS • 



there were certain elements from the 
network right at the beginning that 
regarded us as a hairy version of The 
Incredible Hulk," laughs George R.R. 
Marli;i about Beauty & the Beast. "If we 
•^^were^; going to be primarily an ac- 
"tion/a%enture show oriented towards 
chiidrOTtwith an obligatory beast-out at 
fthe sec^iT(| act's end. and a major rescue to 
end the fourth act, I really didn't want to 
be involved. But from talking to [creator] 
,Ratt iS)slow. it became clear that his ambi- 
tions 'lor the show were very high and that 
he regarded it as adult-oriented drama. 
That was one of the factors that deter- 
I would take a crack at it. Then, 
^ we were out there, determining which 
ay to go was part of the challenge." 
Martin, a Hugo-winning SF/fantasy au- 
thor and former staff member of The New 
Twilight Zone (which he discussed in 
STARLOG #il8), collaborated with 
Beauty & the Beast creator Ron Koslow. 
producer David Peckinpah and story edi- 
tors Howard Gordon and Alex Gansa on 
chronicling the romance of assistant dis- 
trict attorney Catherine Chandler and no- 
ble lion-man Vincent. Aided by actors 
Linda Hamilton and Ron Perlman, they 
made the worlds above and below the 
streets of New York a place of magic, 
where anything could happen. 

Mid-Summer's Dream 

"There were various stages in the 
show's development," Martin explains. 
"Early on, of course, the network was kind 
of putting us precisely in the direction we 
didn't want to go: formula action/ 





adventure. They were putting restrictions 
on us in the first season which we labored 
under that were difficult, including the 
most irritating to me: They didn't want to 
see any other people in the underworld. 
Initially, the network saw it as a cop show 
with a hairy hero who saved people. There 
were always elements at the network that 
thought the tunnel people were strange and 
didn't quite know what to make of them. 
Of course, from my background, the tunnel 
people were precisely the elements that in- 
terested me the most, that whole tunnel 
society, the world down there, Vincent and 
his origins, the fantastic elements. 
Thankfully, we were finally able to break 
through when the ratings were strong 
enough and we earned a little freedom to 
do what we wanted. These battles are 
worth fighting, because sometimes you lose 
them for a while, but eventually, the tide 
turns. In our case, that turn came in the 
middle of the first season with 'An 
Impossible Silence' and "Shades of Grey,' 
in which we were finally able to introduce 
the underground community in the way we 
wanted to. 

"In the middle of the second season, 
there was a reverse shift," he adds. "A TV 
show always exists in this relationship with 
the ratings, to the extent that if your rat- 
ings are strong, you earn yourself the free- 
dom to do whatever you want. When your 
ratings begin to sink, and I experienced this 

EDWARD GROSS, veteran STARLOG cor- 
respondent, profiled Michael Filler in issue. 
#159. 

54 STARLOG/Novemher 1990 



on Twilight Zone too, suddenly you've got a 
lot of 'help' from the network and the stu- 
dio. And it's not necessarily the help you 
want. On Twilight Zone, things got so bad 
at the end that we had two network repre- 
sentatives sitting in on our story meetings. 
We never got that bad on Beauty & the 
Beast, thank God, but yes, we did go with 
more action in the middle of the second 
season and definitely in the third." 

His first effort for the show also hap- 
pened to be the first aired: "Terrible 
Savior," in which a subway vigilante pur- 
ported to be a lion creature is murdering 
criminals. Catherine believes that it may 
be Vincent. 

"I was fairly happy with the episode, 
though it's not one of my favorites. Some 
of it was my fault," he candidly admits. "It 
was a little too ambitious. Despite my 
Twilight Zon^ experience, I was still rela- 
tively new at writing for television. When 
you write books, you have an unlimited 
special FX budget. The initial draft had a 
climactic battle on top of a moving subway 
car, as Vincent and his opponent hurtle 
from car to car and fight with each other. 
This would be great for a $20 million 
movie, but it was not do-able on our 
budget. In fact, the whole script posed 
production problems. There were no real 
subways that we could shoot in Los 
Angeles, as we soon discovered. We were 
fortunate enough to find a standing subway 
set for an exterior and an interior car that 
we borrowed. We had to curtail some of 
the subway material, which was strange for 
an episode about a subway vigilante. 




George R,R. Martin commends Roy 
Dotrlce's work, playing Paracelsus 
impersonating Father, In the second 
season's "Ceremony of Innocence." 



"There were other problems, too. In the 
very first shot, you see the shape rushing 
down the car to i<ill the first two people. 
Most of the audience recognized it was not 
Vincent, which was not the intent. In the 
teleplay, I asked for the Hghts in the car to 
go out, so the only light would be coming 
in through the windows as the car shoots 
through a lit station, thus creating a strobe 
effect of the lights going off and on. Most 
of the scene should have been played in 
darkness or near darkness, and the idea 




Martin cites the early second season 
segments as the beginning of the end: 
"I think the audience that came back 
after the summer was expecting a more 
romantic follow-up." 

was to create the possibility that it was 
Vincent. Three years into it, it seems 
ridiculous, perhaps, but you have to re- 
member that at the time neither the audi- 
ence nor Catherine knew Vincent very 
well. So, the dilemma, Catherine's fear of 
Vincent's ability to kill, was still something 
that could be played. That was really the 
thematic point. I'm not sure if it worked, 
but all of us were still learning." 

Autumn Leaves 

"Masques." which takes place on 
Halloween, allows Vincent to finally ca- 
sually walk the streets with Catherine, only 
to have the two get involved with a famous 
Irish poet and the man out to murder her. 

"Basically. I came in with two story 
ideas when we started," says Martin. "One 
of them was 'Masques' and the other was 
"Terrible Savior.' "Terrible Savior' had 
jeopardy and a subway vigilante. I wanted 
"Masques' to be very different, a very ro- 
mantic episode with the magic, the mystery 
and the pageantry of Halloween night — 
little moments of romance and humor and 
action. But the network was still coming 
down very heavily, and they said, "No, you 
have to have jeopardy. You have to have 
guys with guns.' I was initially upset about 
this and we had some arguments. I said. 




The writer would have preferred that Catherine (Hamilton) and Vincent (Ron 
Perlman) escape the Tunnelworld's confines each Halloween. 



'Wait a minute, you got me out here to 
write this under the premise that this was 
going to be adult drama, not formula ac- 
tion/adventure, and suddenly, we have the 
formula. I don't like it much.' I kicked and 
screamed, but ultimately, the network was 
very insistent, and of course, that came 
down through the studio, Ron and so forth. 
So, I went back and had to come up with 
an action subplot, and that was the Irish 
issue." 

"Shades of Grey" trapped Vincent and 
Father in a cave-in, with Catherine only 
being able to turn to the Donald Trump- 
like Elliot Burch for help, despite having 
previously rebuked his advances. 

""This show initially came about because 
of our budgetary problems," Martin points 
out. ""We were running very badly over 
budget. Frequently, the way you try to ad- 
just this in television is to produce a cheap 
show called a bottle show. Locations and 
sets are one of the most expensive things to 
produce. In terms of Star Trek, when they 
don't go to a planet and everything takes 
place aboard the Enterprise and standing 
sets, it's a bottle show. David Peckinpah 
and I were teamed up and told that we 
should devise a bottle show to bring the 
budget back down. It was originally called 
'the cave-in show,' the idea being we can 
limit the amount of locations if we trap 
Vincent and someone in a cave and have 
them stuck in one place, playing out some 
character stuff. We went through various 
things: Vincent and Father? Vincent 
alone? Finally, we arrived at Vincent/ 
Father, with Catherine beina instrumental 



in saving them. 

""It didn't really work as a bottle show. 
Even though much of it was limited to the 
cave-in, the actual cave-in chamber wasn't 
a standing set so we had to build that. The 
story required various other scenes up 
above, in Catherine's office, in Elliot 
Burch's office and so forth. Unfortunately, 
it was not as big a help to our budgetary 
crisis as it might have been. However, I do 
think it turned out to be one of our 
strongest episodes. And it was a key 
episode. This was the point where we really 
broke through on the other people under- 
ground and the network dictates about 
that. With Vincent and Father trapped in 
a cave-in, someone had to try and get 
them out. So. that gave David and I the 
opportunity to introduce a whole bunch of 
new characters and really create the soci- 
ety underground." 

"Promises of Someday" was a powerful 
character story, introducing Father's son, 
Devin, and detailing the love/hate relation- 
ship between Devin and Vincent. 

"My favorite of my first season 
episodes." Martin enthuses. "It's a pure 
character drama. There's no ac- 
tion/adventure jeopardy in it whatsoever. 
There's some false jeopardy in the begin- 
ning in that you don't know if Devin is a 
good guy or a bad guy. It allowed us to see 
a little of Vincent's history. It was the first 
episode where we saw the young Vincent in 
flashback — or Mini-Vinnie, as we called 
him." 

In "Ozymandias," Catherine consents 
to marry Elliot Burch, provided he doesn't 

STARLOG/Novemher 1990 55 



ABC got its sitcoms on six weeks ahead of 
us, and to my mind, that was a really dam- 
aging blow. By the time we came on, they 
were really well established and getting 
good ratings, and we never won the time 
slot again. 

"But my favorite season overall is still 
the second," notes the writer. "Not to say it 
was perfect. I could pick mistakes and weak 
shows in all three seasons if I wanted to, 
but we did some of our best work in the 
second season. Our biggest mistake was 
that if you look at all 22 shows, there's a 
tremendous diversity. Unfortunately, they 
weren't mixed up. The first half of the sec- 

"I became the guardian of Elliot Burch 
[Edward Albert]," admits Martin. "I've 
always been fascinated by characters 
who have shades of grey within them." 




build a skyscraper that would reveal and 
destroy the Tunnelworld. 

"Even though David Peckinpah created 
him in 'Siege,' by 'Ozymandias,' I became 
the guardian of Elliot Burch," smiles 
Martin, "and ended up doing a great many 
of the Elliot Burch episodes. I don't think 
this one came out quite as strongly as it 
should have. Edward Albert [who played 
Burch] was very sick during filming, but 
despite that, he did a good job. Elliot 
worked well for us. In all of my fiction, I've 
always been fascinated by characters who 
have shades of grey within them. That's 
part of the fascination of Vincent too. He's 
not simply the hero. He does have this 
dark side and that gives you a lot to work 
with." 

In his opinion, the first season improved 
as it went along, as getting to know the 
characters made for more interesting sto- 
ries. "Of course, we were doing very well in 
the ratings at that time, and that gave us a 

56 STARLOC/Novemher 1990 



license to experiment and try some differ- 
ent things," Martin reflects. "The first sea- 
son ended with 'A Happy Life,' which I 
think pleased the fans. It was a very strong 
and romantic way to wrap things up." 

Unfortunately, Beauty & the Beast's 
second season was unable to carry that 
momentum, due primarily to the 1988 
Writers' Strike, which brought the industry 
to a standstill. 

Dead of Winter 

"The whole season was delayed," he 
says. "We had this notion that each year, 
we would do a Halloween episode and it 
would become one of our staples, but we 
never seemed to get that. During the first 
season, we actually managed to be on on 
Halloween, but the strike had delayed ev- 
erything the second year and we couldn't 
get on the air until mid-November. 
Unfortunately, sitcoms are much easier to 
get up to speed than dramatic shows, so 



ond season was all character pieces, rela- 
tively slow drama, slowly paced. The sec- 
ond half was the more action-oriented 
shows. If we had mixed it up, and had one 
one week and the other the next, we would 
have had a show where anything could 
happen: you wouldn't know what you're 
going to get from week to week." 

Martin's first effort for season two was 
"Dead of Winter," in which the people of 
the Tunnelworld celebrate Winterfest, 
which the evil Paracelsus tries to disrupt. 

"At some point during the first season, 
we had gotten around to talking about fes- 
tivals and holidays down there, and do they 
have any of their own? There's a reference 
in a first season episode, I think it was 
'Fever,' — where Colin is making the chess 
set and it was a gift for Father at 
Winterfest. I started debating what that 
should be like. What should its purpose be? 
I came up with the notion of a festival to 
honor the Helpers, which Ron liked a lot. 
So, when we were talking about our first 
episodes of that year, Ron encouraged me 
to write it. 'Dead of Winter' was another 
one of our — or my, George R.R. 
Martin's — budget busters. I have a reputa- 
tion, unfortunately well deserved, for writ- 
ing very expensive episodes that drive our 
crew crazy and push us beyond things we 
had done before. I had never realized 
(continued on page 62) 



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Lord of Disaster 

Setting "The Towering inferno" aflame was 

just anotlier great adventure for Tarzan 

director John Cuillermin. 

By LOWELL GOLDMAN 

I've never been very good at giving inter- 
views," declares director John 
Guillermin. "rm not sure why. Some 
directors are quite good at this sort of 
thing. But it's just not that easy for me." 

Although initially reluctant to talk 
about his films, he does let his guard 
down. Eventually, Guillermin is surpris- 
ingly candid about such genre efforts as 
his two Tarzan movies. The Towering 
Inferno. King Kong, King Kong Lives and 
Sheena. 

Guillermin was bom in London and ed- 
ucated at Cambridge. He began his career 
in France in 1947 as a documentary film- 
maker and made his feature film debut two 
years later in England with a picture enti- 
tled Torment. In the '50s, he helmed a 
series of small, black & white British 
films. So, it was a bit of a surprise when he 
set his directorial sights on the colorful 
Tarzan' s Greatest Adventure (1959). 

Lord of the Jungles 

"The earlier Tarzan movies were really 
program pictures made on the backlot," 
notes the director. "We made a location 
picture for the first time. We went to East 
Africa [Kenya]. For a short schedule, fairly 
low-budget picture, the whole affair really 
got me quite excited." 

In the film, Tarzan (Gordon Scott) is 
hot on the trail of four men searching for a 
valuable diamond mine. Anthony Quayle 
portrayed the leader of the gang. One of 

King Kong Photo; Copyright 1976 Paramount Pictures 



Jock Mahoney took over for Gordon 
Scott as the new Apeman In John 
Guillermin's Tarzan Goes to India. 

One of the director's most successful 
films took George Peppard into the killer 
skies as a young German pilot in The 
Blue Max. 





Blue Max Photo: Copyright 1966 20th Century Fox 



his henchmen was a new actor named Sean 
Connery. 

"Sean certainly had a striking personal- 
ity," recalls Guillermin, "but his diction 
needed a lot of work. Sean was not always 
easy to understand. He had what you would 
call a thick Scots accent. He really worked 
on that over the next few years. 
Obviously, he has had an extraordinary ca- 
reer. He has managed to bridge that gap be- 
tween leading man parts and character 
roles." 

Tarzan' s Greatest Adventure did well 
enough at the box office that the series of 
Tarzan movies continued throughout the 
'60s. Replacing Gordon Scott as Edgar 
Rice Burroughs' legendary hero in 
Guillermin's Tarzan Goes To India (1962) 
was Jock Mahoney (STARLOG #136). 

"I'm not sure why Gordon didn't do 
Tarzan Goes to India," ponders the direc- 
tor. "But Jock did a good job. He was an 
ex-stuntman. Jock was an extremely tough 
guy." 

In this adventure, Tarzan creates a sanc- 
tuary for elephants and other wild animals 
when their habitat is threatened by the im- 
pending construction of a huge dam. The 
director reveals that it wasn't easy dealing 
with a dam and elephants on location. 

"It's especially difficult when you're 
making a film for two cents in six weeks," 
he says with an uneasy laugh. "It really 
was an absurd bit of business. 

"She certainly looked good on screen," 
recalls Guillermin of his discovery of 
Jessica Lange, Kong's 1976 flame. 

STARLOG/Novemher 1990 59 



"Technically, we did construct a bam- 
boo wall that was used to charge 50 ele- 
phants through. You couldn't stop them 
for two or three miles. But, we did manage 
to stop them in a river bed. It was all very 
exciting." 

Regarding his two Tarzan films, 
Guillermin admittedly prefers his first ef- 
fort. "For one thing, Tarzan' s Greatest 
Adventure had a tighter plotline. Plus, I 
think it had a much better feeling for the 
genre." 

Although both films were well-re- 
ceived, Guillermin decided that he wanted 
to branch out in different directions. 

"Two Tarzan films were enough for me. 
[Director] Bob Day did a whole bunch of 
Tarzan films in the '60s. I've known him 
for years." Mike Henry played Tarzan in 
most of Day's movies. "I knew Mike, too. 
Mike was in a picture I did with Chuck 
Heston for MOM called Skyjacked. 

"Mike was a really nice guy," 
Guillermin's quick to add. "He's a great 
character. I don't think he's still acting in 
films. I'm not sure what he's doing these 
days." 

Making movies in foreign or exotic lo- 
cales has always fascinated Guillermin. 

"I've always liked going to a country 
and creating a different world than what 
was happening there at the time. I'll give 
you a case in point — The Blue Max 
[1966]. We shot the film in Ireland where 
we re-created World War I Germany." 

The Blue Max is also one of the direc- 
tor's most successful movies. George 
Peppard plays an ambitious German 
fighter pilot having a torrid affair with 
Ursula Andress. Besides their steamy love 
scenes, the movie was noted for its superb 
aerial photography and exciting dog- 
fights. The cinematography was done by 
Douglas (Raiders) Slocombe. 

Peppard liked Guillermin's style so 
much that he insisted the director helm the 
actor's next film, the private eye thriller 
PJ. (1968). The director and star next 
teamed up for an European-made melo- 
drama with Orson Welles, House of Cards 
(1969). 

Guillermin then made what he calls a 
"fettuccine" Western with Jim Brown and 
Lee Van Cleef in Spain entitled El Condor 
(1970) and the third entry in the Shaft 
series. Shaft in Africa (1973). 

Lord of the Fires 

Next on his agenda was the all-star dis- 
aster epic. The Towering Inferno (1974). 
Guillermin initially got involved with the 
project because he shared the same agent 
as Irwin Allen. 

"I think the script came to me as a 
straightforward submission," he says. 
"They had also talked to Steve McQueen. I 
had known him at the time. Anyway, 
that's really how it got started." 

LOWELL GOLDMAN, Philadelphia-based 
writer, profiled James Coburn in 
STARLOG #151. 




According to the director, McQueen was 
originally set for Paul Newman's part. 
Then, McQueen decided one day that he 
didn't want to play the architect, he pre- 
ferred playing the fire chief. . 

"The part of the architect wasn't all that 
great anyway," admits Guillermin. "But, 
we tried to make some sense out of it and 
Paul helped a lot too." 

Guillermin has high praise for 
McQueen. "Steve had a terrific instinct for 
something he could play well. In the films 
where he played characters that he really 
understood, he did extremely well on 
screen. It wasn't an accident that he was a 
major, major star. 

"He also had tremendous power and 
charisma. He could capture the truth of a 
scene. I'll give you a marvelous example: 
In The Towering Inferno, we had a scene 
where Steve was physically exhausted. 
Yet, he had to get up and fight this out-of- 
control fire. He was in a state of despair. 
We discussed how to play the scene. 
Originally, he was supposed to get up and 
start moving around. But, we played it the 
exact opposite. He didn't get up. Instead, 
he gave orders from the floor. Well, it 
worked like gangbusters. Not too many ac- 
tors would have played the scene that 
way." 

The Towering Inferno combined two 
novels. The Tower by Richard Martin 
Stem and The Glass Inferno by Thomas N. 
Scortia and Frank M. Robinson, and two 
studios, 20th Century Fox and Warner 
Bros. At the peak of production, four cam- 
era crews were shooting on 57 sets on the 
Fox backlot. 

There was also a great deal of model 
work. "The tower model shots were done 
by another unit. It was a very, very quick 
schedule. We had to integrate the model 




Beauty Linda Hamilton Is caught In the 
beast's grip with Brian Kerwin as King 
Kong Lives, Guillermin's reluctant 
"remake of a remake." 

shots. It was a tricky business." 

Although Irwin Allen gets credit for di- 
recting the action sequences, Guillermin 
maintains that Allen really handled only 
one of the units. "I would give Irwin the 
same credit as I would the other second- 
unit directors. We had seven units on the 
picture. All the acting scenes were done in 
14 weeks. You know," Guillermin says, 
"Irwin can be a bit of a megalomaniac. He 
wanted to do everything." 



60 STARLOG/November 1990 






Of his two Apeman epics, Guillermin 
prefers the more tightly plotted Tarzan's 
Greatest Adventure, which pits Gordon 
Scott against Anthony Quayle. 




Still, Guillermin credits Allen for 
bringing the picture in on schedule and un- 
der budget. 

"We made the movie for a very reason- 
able budget," he adds. "It was around $15 
million. In a sense, we couldn't have made 
it any other way. You could have made it 
the David Lean way. But then, it would 
have taken two years." 

Lord of the Apes 

While on the subject of film finances, 
Guillermin is quick to set the record 
straight regarding his big-budget 1976 
remake of King Kong. 

"Well, you know King Kong was com- 
mercially very, very successful. It was 
successful for Dino De Laurentiis and the 
studio. Paramount. In fact, the studio 
made over $40 million. They probably did 
more than S80 million rentals worldwide. 
Our problem was that the film's budget on 
paper was enormous. It was around $25 
million. Still, it's very difficult to know 
for sure." 

Guillermin was working on other pro- 
jects when the Kong remake came up. 

"I had worked on a screenplay that was 
a modern story based on the film The 
Hurricane. The script didn't quite work out 
so Dino simply decided to remake the old 
Hurricane. My story was about a super- 
tanker caught in a severe tropical storm. 
Unfortunately, it was never made." 

De Laurentiis instead tried to sell the di- 
rector on King Kong. Lorenzo (Flash 
Gordon) Semple Jr. (STARLOG #74-75) 
was hired to develop a viable screenplay. 

According to Guillermin, Barbra 
Streisand was seriously interested in star- 
ring in the picture at one time. "Then, I 
found Jessica Lange in New York. She had 
been a model with the Wilhelmina 
Agency. We gave her a screen test. Well, 
she certainly looked good on screen." 

Since this was a De Laurentiis produc- 
tion. Carlo Rambaldi and his crew were 
hired to design the mechanical Kong. 



Unfortunately, there was a language barrier 
between the director and the Italian-speak- 
ing staff. 

"We developed an international lan- 
guage in the end," he says. "Still, it was a 
bit like conducting an orchestra. It didn't 
matter... I remember the mechanical arm 
didn't work for three months. It was very 
tricky for them to operate each finger. As 
always, hi-tech doesn't play as big a part 
as one imagines. It often comes down to 
the old levers and cables." 

It's no secret that Oscar-winning 
makeup wizard Rick Baker (in an ape suit) 
played King Kong throughout most of the 
film. 

"Rick did a great job," exclaims the di- 
rector. "We also created a full-scale Kong. 
Although he was supposed to walk, he was 
really too darn big to walk. Anyway, we 
used the giant Kong as sort of a backdrop 
when the crowd goes crazy at the end. 

"I thought the scenes at the Twin 
Towers at the World Trade Center worked 
quite well," he adds. "We got a lot of atmo- 



'It wasn't an accident that he 
was a major, major star," notes 
Guillermin of Steve McQueen, 
who went from being the 
architect of The Towering 
Inferno to its fire fighter. 



sphere by using the real location. I was 
also very pleased that there's kind of a 
lyricism to the film. That's very difficult 
to achieve with the endless special FX." 

Still, there was no way that King Kong 
could live up to its classic ancestor or all 
the remake's advance hype. "The film 
simply isn't allowed to speak for itself. I 
was not displeased with the overall pic- 
ture. It was totally different from the-orig- 
inal, which is now considered a classic. 
That was an enormous thing to overcome 
in itself." 

After all the problems he went through 
on King Kong, one wonders why the direc- 
tor would try it again with De Laurentiis' 
King Kong Lives (1986). 

"Well, I had wanted to do Tai-Pan with 
Sean Connery at the time. Unfortunately, 
the producer went bankrupt. Dino picked 
up the project, but soon lost interest in it. 
Instead, he wanted to do a remake of King 
Kong," Guillermin sighs, "which I got in- 
volved with. It was not a great idea to do 
(continued on page 70) 

STARLOG/November 1990 61 



Eve 



(continued from page 48) 

out. that's really when we spun it into a 
new orbit, and away from comparisons to 
other films. 

"If the audience identifies with the 
characters, you have a chance of having a 
very successful movie. If you just have py- 
rotechnics, you're not going to have that 
successful a movie. There are certain direc- 
tors around, who shall remain nameless, 
who have great eyes but no ears. They do 
big movies, and they're relatively success- 
ful, but once you go for the visuals without 
emotional content, you end up with people 
watching the movie but not being involved 
in the movie." 

As with some other directors who are 
nervous about being too identified with 
science fiction. Gibbins is pretty cautious 
in describing the movie that way. "I think 
there's a little confusion about what kind 
of film this is. As soon as I say 'robot,' 
they think it is science fiction, but I would 
say "science faction.' I have always seen 
the movie as a psychological thriller with 
the hardware as a gimmick, rather than the 
other way around." 

His co-writer. Yale Udoff, previously 
wrote Nicolas Roeg's Bad Timing, and 
ended up co-writing Eve of Destruction be- 
cause Gibbins' enthusiasm for the idea fi- 
nally roped him in. "I don't really consider 
this picture science fiction," says Udoff, 
as if there is something wrong with a 
movie being science fiction. "There are so 
many movies in which the central dramatic 
thrust is what happens when an executive 
on the way up gives up everything for his 
work. In essence, that's what the scientist 
has done, so that led us down many inter- 
esting paths. The robot goes back into the 
scientist's past — her past, because they 
have the same emotional background. If 
you don't buy that, we've got a problem, 
but I think the audience will go with that." 

Udoff points out that the robot is "like 
a woman who has been drinking, and is set 
off by the wrong thing. This woman is re- 
ally powerful, she'll destroy you and the 
city in which- you live, if you piss her off. 
We realized that there were certain other 
movies [like this], but we didn't 
consciously model it on anything. I never 
really thought of Terminator, but when 
this script was going around the studios — 
they see so many scripts, so we gave this a 
catch phrase: 'The Female Terminator.' It 
was never that for me; it's much more of a 
psychological thriller." 

Madden previously produced Gibbins' 
first movie, Fire with Fire, but even 
Madden admits "it didn't make a dime." He 
reunited with Gibbins because "I believed 
he was good the first time, and I believed 
he was good this time, and I think this 
time, we'll be vindicated." Time and the 
box office will tell if David Madden is 
right, whether Eve of Destruction will ex- 
plode or, well, self-destruct. ■^ 



Martin 



(continued from page 56) 

Winterfest was that. I said, 'Hey. it's going 
to be easy, because 80% takes place in this 
one room.' Well, the one room was a new 
set, the Great Hall, the biggest set we ever 
built. The amount of extras we had to hire 
to fill out the cast and give a sense of the 
Winterfest was very large. So, 'Dead of 
Winter' has the largest set and the largest 
cast of any of our shows and was the most 
expensive. Big party scenes are very, very 
expensive to shoot and very difficult to di- 
rect. [Director] Victor LobI really had a 
challenge there. 

"It was the only one of our early 
episodes that really had a strong ac- 
tion/adventure element to it in that 
Paracelsus infiltrates Winterfest and plans 
on blowing things up. It was also the show 
that introduced Paracelsus' ability to 
mimic voices and assume people's faces. 
The elements the fans react to most in 
'Dead of Winter' are not the plot or ac- 
tion, but the whole notion of the 
Winterfest. the celebration and the sense 
of togetherness. It's not an episode that was 
beloved by the network. It has never been 
rerun." 

Spring Fever 

Next up was "Brothers." which marked 
the return of Devin, who brought another 
physical misfit. Dragon-Man. into the un- 
derworld. 

"Devin is an interesting character." 
says his creator, "with a lot of potential 
there, and someone who has a relationship 
with Vincent. "Promises of Someday' ad- 
dressed many Father/Devin issues, but 
there were many DevinA'incent issues that 
weren't addressed until 'Brothers.' It helps 
round out Vincent and explain some of the 
aspects of his personality. Of course, the 
other major feature of "Brothers' was the 
Dragon-Man. Sometimes for a writer 
working in television, it's difficult. You put 
things on the page and you never know 
how they're going to come out on the 
screen. Sometimes you lose a little — actu- 
ally, most of the time. But I also think that 
sometimes you gain, and "Brothers' was 
one of those cases. Whatever I could have 
imagined was just so splendidly realized. 
Rick Baker's makeup was just extraordi- 
nary. It was an incredible travesty of jus- 
tice when Rick failed to win an Emmy for 
that episode." 

In ""When the Bluebird Sings," Vincent 
and Catherine meet up with an underworld 
denizen who might actually be a ghost. 

""Bluebird" was the kind of episode I 
thought we should be doing more of all 
along." Martin observes. ""It was a little 
lighter in tone and God knows, particularly 
in the second season, we needed some 
episodes that were lighter. In the draft we 
purchased from Robert John Guttke. 
Christopher Gentian is much more clearly 
a ghost. Beauty & the Beast always had 



this cardinal rule that Vincent and the un- 
derworld are our fantastic elements, and 
we don't allow others. That's why we 
didn't do stories that were occasionally 
pitched, like Vincent meets a werewolf. So, 
it was necessary to take Robert's script and 
restructure it to walk a tightrope. Was 
Christopher a ghost? Was he a hoax? The 
viewer is left to make up his or her own 
mind." 

Elliot Burch returns, and this time, it's 
up to Catherine to help him and save both 
their lives, in "A Kingdom by the Sea." 

"Some of the action sequences weren't 
as dramatic as I had written them, but that 
was primarily for budgetary reasons. This 
was the point, because of our declining 
ratings, we had swung back to more ac- 
tion-oriented situations, but with more in- 
teresting stuff than first season. In the 
history of the characters, after a period of 
peace in which their relationship was fairly 
stable and Vincent was almost returning to 
the old pre-Catherine Vincent, who didn't 
deal with the world above very much and 
didn't have to kill. Suddenly in "The 
Outsiders.' that world forcibly imposed it- 
self on them and Vincent once again gave 
in to the dark side of his nature and had to 
take life, albeit in a good cause. 

"As we developed the action shows in 
the second half of the second season, that's 
what we explored once more. We didn't 
just use violence as act breaks the way we 
had first season, as most TV shows did. We 
actually tried to explore the consequences 
of violence. If you do kill that many peo- 
ple, what does it do to you? What does it 
mean to you? What does it say about the 
kind of person you are? In all of these 
episodes, we see Vincent wrestling with 
this, and that's certainly the case in "A 
Kingdom by the Sea.' One of my favorite 
scenes in that is after it's all over, Vincent 
has to return below and wash the blood off 
of his hands, which is the first time we've 
seen him doing that." 

While Beauty & the Beast heads to- 
wards television immortality via rebroad- 
casts on the Family Channel and eventual 
syndication, rumors are growing stronger 
that a feature film based on the show could 
reach theaters within two years. Martin, 
who's surprised to learn that Ron Koslow 
has supposedly raised foreign financing for 
such a film, doubts he would be involved, 
believing that Koslow himself would prob- 
ably pen the screenplay. And so. while not 
being involved in B&B's future, he 
nonetheless reflects warmly on its past. 

"I was sorry the show ended." George 
R.R. Martin closes. "I wanted it to go on, 
and if it had, I was going to be co-execu- 
tive producer with Steve Kurzfeld, so it was 
a little frustrating for me personally. I had 
another dozen stories that I was dying to 
tell. I had plots and ideas and directions to 
take the show that were just waiting to 
happen." 

Next issue: What if Catherine liad lived? 
And Vincent died? T& 



62 STARLOG/Novemher 1990 



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1989 Paramount Pictures Corporation. All Rights Reserved. STAR TREK Is a Registered Trademark of Paramount Pictures Corporation. 




Part Two 

By MARK PHILLIPS 



couldn't find any dramatic reason for in- 
cluding him in the story. Lees was smart 
enough to realize the dog had to be in- 
cluded and that led to a tedious rewrite of 
Acts II and IV — he was already in Acts I 
and II; apparently, I felt that was enough. 
Otherwise, it was a remarkably easy job." 

"That little dog was totally extraneous," 
laughs Sheldon Stark upon hearing of his 
old college friend's predicament, "and so 
were some of the human characters. You 
didn't need seven regulars for a show like 
this." 

Working with Giants' story editor 
Richard McDonagh brought back dark 
memories for Sheldon Stark and Robert 



Years ago, SF-TV veterans chronicled the 
adventures of small people in the big time. 



They were marooned on a bizarre 
world far from Earth. Lost and 
alone, they were seven Gullivers 
pitted against formidable Brobdingnagian 
antagonists. They were small. . .in The 
Land of the Giants. 

The Irwin Allen-produced TV series 
drew on the talents of many writers who 
had toiled for Allen's other SF shows. 
Voyage to the Bottom of the Sea. The Time 
Tunnel and Lost in Space. But for some 
other writers, amidst the recycled plots and 
stock footage, it was only the beginning. 

Plots could even be recycled on other 
shows. Robert and Wanda Duncan's 
third season script for Lost in Space 
("Time Merchant") was re-done three 
years later on Giants. In William Welch's 
"Wild Journey," the little people travel 
back in time to prevent the take-off of 
their spaceliner Spindrift from the Los 
Angeles airport. "That doesn't surprise me 
at all," says Duncan. "Adaptations like 
that happened all the time. There was a 
common complaint that most episodic TV 
in the '60s looked the same and that was 
true because the same stories popped up 
over and over again. TV Westerns did the 
High Noon story three or four times each. 
A writer would ask, 'Have you done a High 
Noon yet?' and the producers would 
understand that question precisely as sort 
of a shorthand. Or a producer would see a 
show on another series, call up the writer 
and say, 'Can you come over to my show 
and do the same Act IV?' That was com- 
mon practice because Hollywood thrives on 
repetition. If an audience responds well to 
a story, it will be done over and over again. 
It is more blatant today with film sequels 
like the Rocky series. The box office tends 
to confirm this belief." 

MARK PHILLIPS, veteran STARLOG cor- 
respondent, began this two-part article on 
the writers of Land of the Giants / n 
STARLOG #159. 

64 ^IKKhOGINovemher 1990 




Lees. Recalls Stark: "I knew Dick 
McDonagh when he was head of NBC's 
Story Department in New York. We had 
both gone through the McCarthy era of 
blacklisting in the '50s. I was blacklisted 
for five years while Dick went to the other 
side. I wasn't a Communist, but I had made 
a speech against blacklisting, and the next 



ptleiTCd With 
Jogue that didn't 
advance the 
story, " fiotes 
Eilis St. Joseph. 



A giant convict 
sinking in quicksand was the 
theme of Robert Lees' (Jay Selby) 
and Stan Silverman's story, "Manhunt." A 
blast of rocket power from the Earthlings" 
spaceship saves the giant from the mire. 
The original title was "Quicksand!", 
followed by "Trapped" but the title 
changes were the easy part. Lees and 
Silverman were under orders to keep the 
budget low. "We were pressed to tell the 
story with a minimum of special FX," 
recalls Lees, "so we used as many camera 
angles and cuts as possible." 

For Silverman, it was a tiny dog, not 
effects, that drove him crazy. "The little 
dog [Chipper] was a real problem," he 
remembers. "I developed a subconscious 
resentment of that critter because I 




day. I walked into a radio rehearsal 
carrying my script and the producer took 
me aside and said, 'Sorry, Shelly. We can't 
use your story." I had to use aliases after 
that to get work." 

A subsequent FBI investigation com- 
pletely vindicated Stark a few years later. 
"With Dick, you were either a bloody 
conservative or a liberal, so we weren't too 
friendly," he observes. "He was a good 
story man, but he wasn't very outgoing and 
not the anecdotal type." 

"The blacklisting era ended my career 
for six years," says Robert Lees, who got 




back into writing by using the pseudonym 
Jay E. Selby. "McDonagh knew me from 
the blacklisting days so I had misgivings 
about working for the show." However, it 
was associate producer Jerry Briskin's lame 
effort to be a comedian that soured things 
for Lees. "We had a story conference set 
up and when I handed our final script to 
Briskin. he made a crack he thought was 
funny: 'Is this shit worth reading?' I didn't 
find that humorous, and after a moment of 
suppressed anger, I said, 'Is this reading 
worth shit?' That may be why we only did 
one Land of the Giants." 

Production costs 

Richard Shapiro, a struggling young 
writer hired during Giants' second season, 
found genuine humor in the form of a 
motto: "There was a sign up in the 
production office that read, 'The quality 
will be remembered long after the cost is 
forgotten," " recalls Shapiro. "Except one 
day we found the sign changed to, 'The 
cost will be remembered long after the 
quality is forgotten.' It was a joke, of 
course. Irwin was always concerned about 
the quality of everything he did." 

Shapiro, light years away from creating 
the TV phenomenon Dynasty, recalls 
Giants as his first big break. "My writing 



career was not exactly soaring when I got 
my first script assignment for Giants. I 
needed the credit, I needed the money and 
frankly, I would have worked for anybody 
who offered to hire me." 

He wrote four episodes, eschewing giant 
scientists and detectives for more ordinary 
folk like an out-of-work actor and a down- 
on-his-luck trumpet player. Shapiro's 
light-hearted approach included the 
highest-rated second season segment, 
"Comeback," starring John Carradine. 

"I was delighted to find my episodes 
cast with fine character actors like 
Carradine and Ben Blue." says Shapiro. 
"My favorite episode was 'The Inside Rail,' 
with Blue as an old racetrack tout who 
kept trying to step on a winning ticket the 
Earthlings were dragging past him on a 
thread. It was a pantomime routine that 
was a marvel to watch. I also remember 
filming for 'Giants, and All That Jazz' 
almost shut down one day because Sugar 
Ray Robinson had to work with a boa 
constrictor. Turned out the middleweight 
champion of the world was terrified of 
snakes!" 

Jack Turiey recalls little of writing his 
two Giants teleplays, "The Trap" and 
"The Golden Cage" (with Celeste Yarnall 
as a brainwashed Earthgirl), but he is 



Facing diminishing ratings, it was their 
giant budget that doomed the Spindrlffs 
crew: (top, left to right) engineer Marit 
Wilson (Don Matheson), embezzler 
Alexander Fitzhugh (Kurt Kasznar), co- 
pilot Dan Erickson (Don Marshall),pilot 
Steve Burton (Gary Conway), (bottom) 
jetsetter Valerie Scott (Deanna Lund), 
orphan Barry Locl(ridge (Stefan Arngrim) 
and stewardess Betty Hamilton (Heather 
Young). 

surprised to learn Yarnall starred in "his" 
episode. "She used to be in my yoga class," 
says' Turiey, "but I never made the 
connection. Her ex-husband tried to get 
me to write a cheap Italian horror pic 
called Chair Face or something." 

Turley's stories were relatively realistic 
depictions of survival, but he notes, "That 
early human approach probably didn't 
garner the kind of ratings the network 
wanted, so they turned it into a grade 
school comedy. I think the staff who 
worked on these shows viewed their 
product with less than idealistic respect. It 
was a hard, mind-numbing job, not to 
mention the 24-hour-a-day work mentality 
of their boss [Irwin Allen]." 

Robert Duncan, who remembers Turiey 
from their Oklahoma High School days, 
agrees about the long hours. "Irwin Allen 
was the most complex, exasperating, 
confusing man for whom we ever worked. 
He would call us on a Friday evening and 
say he needed a script for the following 
Tuesday. We had four hours to come up 
with a story outline, which Irwin would 
approve over the phone. Then, Wanda and 
I worked day and night over the weekend 
to get the final draft done and it would be 
sent to his office early Tuesday by 
messenger. Irwin didn't need the script that 
urgently, but it pleased him when writers 
demonstrated their willingness to go all out 
for his shows. That's how he tested their 
dedication. 

"He was not an easy man to work for. 
His moods were mercurial. He would ap- 
pear out of nowhere late at night for a 
story meeting, maul our script, often un- 
fairly, and disappear. Moments later, he 
would be back with an armful of toys for us 
to take home to our children." 

"I met him briefly," recalls Mann 
Rubin, "and I felt he enjoyed meeting and , 
personally validating the writers he was 
hiring. I definitely got the feeling the 
scripts were just as important to him as the 
special FX." 

"The key to Irwin's success is his 
tremendous energy," Sheldon Stark points 
out, "You were OK with him if you 
understood that there was only one way — 
his way! If you could accept that, he was a 
nice guy, honest and direct." 

"Irwin Allen and Joe Stefano [The 
Outer Limits] were two of the best pro- 
ducers for whom I worked," claims Ellis St. 
Joseph. "When I first went to work for 
Irwin, a friend who had worked for him for 
years said, 'You two won't get along for 

STARLOG/Novemher 1990 65 



two minutes.' He was wrong. I never had 
any trouble with Irwin. I would go into his 
enormous office and there he sat like an 
emperor, looking like a cross between 
Julius Caesar and Nero. He was a strong 
producer with a presence." 

St. Joseph admits some writers had 
difficulty adjusting to Allen's standards. 
"He was somewhat anti-intellectual. When 
viewing film rushes, he would say, "No 
quibbling! No quibbling!' whenever scenes 
became too talky. Some writers disliked 
that and felt it was a silly putdown of their 
work but Irwin had no patience with 
dialogue that didn't advance the story." 

Perfectionist Producers 

"Irwin was an intelligent, curious and 
creative producer," says Esther Mitchell, 
"but he was also a perfectionist. I was 
saddened when he was so hard on his ex- 
cellent staff and it troubled me that he 
would act this way in my presence. Since 
he demanded perfection of himself, that 
extended to the people he surrounded 
himself with, and when something went 
awry, they all suffered." 

Once she ran afoul of Allen when Bob 
& Esther Mitchell's first draft of 
"Secret City of Limbo," a tale of under- 
ground giants, took a direction "that sur- 
prised and angered Irwin. He called Dick 
McDonagh, Bob and myself in to confer 
and my fears were confirmed: Irwin was 
not happy. He was ready to scrap the whole 
script because he felt our ideas wouldn't 
work. It was the first time I had ever met 
with his disapproval and it was not 
pleasant. But I stuck to my idea. Bob and 
Dick tried to discourage me from pre- 
senting it (they were sure I was whipping a 
dead horse and it would only irritate Irwin 
more). Irwin ended their protests with, 'Let 
her talk!," and he listened. 




Giants 

tried to make up 

for what it lacked 

in solid characters 

with special FX and 

Deanna Lund. 




"It was fascinating to see him become 
involved as I took a new tack on the story. 
He added a few of his own ideas and the 
conference ended on a pleasant note. I 
liked and admired Irwin, but he was not 
elaborate in his praise," Mitchell observes. 
"He did let us know when he was pleased 
with our stories and often, if his office door 
were open, I would pop in to say hello 
before turning the script over to Dick, and 
Irwin would ask if I were happy with the 
finished script. It wasn't idle conversation, 
he really wanted to know and I was usually 
happy with it, and that was the right an- 
swer for both of us!" 

"Irwin Allen loved special FX," growls 
Jack Turley. "He was great for fireworks, 
bells and whistles, but it was Tony Wilson 
who leaned toward the human approach. 
Tony was a good friend of mine, but I'm 
sure I greatly aggravated him at times 
since I was a rather ego-oriented, 
temperamental writer." 

"Tony Wilson was one of the most 
creative story editors, writers and produc- 
ers in the business," affirms Robert 
Duncan. "He had a genuinely funny sense 
of humor and had the best mind of anyone 
we ever ran across in Hollywood." 

Another veteran writer was William 
Welch, who scripted a total of 50 episodes 
of Allen's four SF series between 1964 and 
1970. "Bill Welch was a very dear friend 
of mine," says Paul Zastupnevich. "He had 
worked as a writer at the White House in 
the 1940s [Welch wrote speeches for 
President Truman, including his historic 
1945 announcement of Japan's surrender]. 
Bill had a very dry sense of humor. He was 
a bright fellow, very quick on the uptake 
and a damned good writer." 

Welch continued working for Irwin 
Allen on the 1975 series Swiss Familx 



Robinson before his sudden death in 1976. 
"Bill should have never worked himself so 
hard," laments Zastupnevich. "He had a 
heart condition and he literally worked 
himself to death." 

"I considered Bill Welch, Arthur Weiss 
and Sidney Marshall [all staff writers for 
Allen] dear friends," shares Esther 
Mitchell. "They were exceptionally 
intelligent and sensitive and masters of 
their art. They all died too soon. Bill, 
before the stroke that left him less alert, 
was, like all good writers, a listener. He was 
interested in many things, among them the 
'spirit world.' Bob brought home 
audiotapes which Bill wanted him to listen 
to because Bill believed he had captured 
evidence of spirits on the tapes. He was 
working on a book about his supernatural 
experience when he died. He was a warm, 
comfortable and easy person to be with." 

unexpecting Endings 

Due to its high budget and slipping 
ratings. Land of the Giants was chopped 
from ABC's schedule in 1970. It would be 
another eight years before primetime 
television unleashed another big budgeted 
SF epic, Battlestar Galactica. 

"We were preparing for a third season," 
reveals Zastupnevich, "and we were cut. 
We were told we weren't reaching the 
right demographics and within two or 
three days, we were all gone! You can't 
fight cancellation. When it's over, it's over. 
However, no one can convince me that 
those demographics and Nielsen ratings are 
as reliable as they say they are. It's a lot of 
hooey-balooey and we got stuck with it. 
Land of the Giants was a damned good 
show and should have run much longer." 

"The show's budget became very im- 
portant as time went on." adds Esther 



Mitchell, "and there was a lot of pressure. 
We had one story about the Earthlings' 
being pursued and swallowed by a giant 
fish and Irwin was enthusiastic about the 
exciting story as well as the special FX we 
had worked out, but the money wasn't 
there for such a production. 

"Irwin was especially pleased with our 
script. "The Unsuspected" [with Steve as a 
paranoid] because it was exciting, sus- 
penseful and took advantage of the regular 
cast without requiring a guest cast or the 
building of new props. Irwin made an 
example of 'Unsuspected" to his staff 
writers as a way in which to keep the 
budget down."" 

The Mitchells' last script for Giants 
was "The Slave Makers"" (their 13th for 
the series) but when ABC lowered the 
boom, the script went unproduced. 




Intended as the last episode of year two, 
the story had enormous space invaders 
landing on the planet with plans to enslave 
the giant population. The little people, 
placed in the peculiar position of trying to 
save the giants, thwart the huge aliens" 
plans of conquest. 

'"We felt like we had lost a friend when 
the series was cancelled."" says Mitchell. "In 
fact, we lost several friends — all of the 
Giants characters. When you sit behind 
the typewriter, you get very well 
acquainted with them and I loved writing 
for each of those people. Perhaps the 
show"s basic premise was too limiting for a 
longer run." 



ABC not only ended the show's pro- 
duction but doomed the fictional charac- 
ters to living out their lives on the 
uncharted giant planet without any hope 
of seeing Earth again. Esther Mitchell says 
phooey to the bleak scenario. "0/ course 
they got off that planet!"' she states. "They 
work their way into a friendship with some 
giants who help them repair the Spindrift 
and with Inspector Kobick [the giant 
nemesis featured in nine episodes] in hot 
pursuit, they take off, speed off into space 
and head home. Of course, their heroes' 
welcome doesn't happen because Earth is 
in imminent danger of blowing up. Those 
in power have evacuated Earth's 



population to space stations and want the 
Spindrift's, crew to guide them to the 
giants' planet where they hope to 
transplant Earth's entire population. What 
do you think? Have we got a sequel?" 

Sequel or not, the series continues to 
play in syndication and on the USA 
Network. How do the writers of Giants 
appraise the series today? 

"It was infantile as real SF," says 
Sheldon Stark matter-of-factly. "It was 
very unsophisticated, with a standard 
format and stereotypical characters. 

"The main thing was, 'Will the special 
FX work?' If they did, you had a show. I 
thought the FX were rather simple, but on 
that level, it was OK." 

Asked to name a show that exemplified 
good SF-TV, Stark replies, "Star Trek. It's 
one show I wish I had written for. It dealt 
humanly with unhuman creatures, and as a 
series, it did what every writer should do — 
take a moral position in life. Star Trek 
provided a mirror for the world of today. I 
loved it." 

Star Trek tops Mann Rubin's list as well, 

STKKLOGINovemher 1990 67 



but he maintains, "I liked the fantasy 
concept of Land of the Giants. These 
people were made to feel small and 
insignificant by towering giants and yet 
overcame their obstacles. The message was 
that mankind can endure and viewers 
could put aside their problems and identify 
with these 'little guys' on some far-off 




planet. The series confirmed our dura- 
bility." 

"It wasn't a bad series," says Shirl 
Hendryx, "and I liked the concept. It could 
have been better had the characters been 
more than Saturday morning serial types. 
However, when I think of good children's 
entertainment, I think of classics like 
Gulliver's Travels or Charlotte's Weh." 

"Lost in Space and Land of the Giants 
would be perfect for the Saturday morning 
slots for the six-and-under set," states Jack 
Turley, "strictly chewing gum for the 
eyeballs. The older kids are much too 
sophisticated for that hokey, exploding 
control panel stuff. I was asked to write 
more stories for these programs, but I ran 
as if my pants were on fire! I, hated 
working for those shows. I've only had two 
inquiries from fans re: my small part on 
those shows, and hopefully, they will be the 
last!" 

Children's Fantasies 

"It was certainly more a children's 
show than serious drama," concedes 
Richard Shapiro. "Neither was it real 
science fiction. Isaac Asimov wrote an 
article in TV Guide taking the show to task 
for being implausible. But the stories were 
good and they made moral points from 
which young people could profit. The show 

68 STARLOC/Novemher 1990 




'Land of the Giants was pure escapisoi," admits frequent writer Esther Mitchell. 



was fun to write for and fun to watch, for 
adults who weren't too stuffy as well as for 
kids." 

"Asimov was probably right," St. 
Joseph offers thoughtfully. "I do revere his 
writings, but we don't know what's out 
there. We don't know what the density of 
those creatures were. Maybe they were like 
mushrooms. Who knows? Giants fell into 
the category of fantasy and there was a 
willing suspension of disbelief." 

"Yes, Asimov was right, but I'm not 
sure it was important," says Esther 
Mitchell. "In my favorite show, 'The Lost 



Ones.' with Zalman King brilliant as the 
incorrigible Nick [leader of the stranded 
Earth punks], the giants had roaring 
voices, slower motion and ponderous, 
booming footsteps. They were more 
primitive and ferocious, and I'm sure Isaac 
Asimov approved of the 'science' in that 
episode." 

Had Giants followed Asimov's scien- 
tific advice, Zastupnevich feels, "The show 
would have been a bloody bore! We were 
in fantasyland, and because we filmed it in 
a certain manner did not mean we were 
saying, 'This is an accurate account.' There 



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Longtime Allen collaborator 
Zastupnevich, here with actress Carol 
Lynley as part of The Poseidon 
Adventure, firmly believes that "Land of 
the Giants was a damned good show and 
shouid have run much longer." 



are different interpretations and everyone 
has their own idea on how round the world 
is. We were there mainly to entertain and. 
to a lesser degree, educate and moralize. It 
was clever and innovative. Today, if 
networks can get an audience appeal by 
being tawdry and sensational, they'll do it. 
I'm one of the minority who says, "Hey. 
let's not do it that way." It's become 



nothing but crass commercialism. Some 
episodes of Giants were a little creepy, but 
they didn't give kids nightmares like 
today's deluge of sex. crime and violence. 
And I could never understand all the fuss 
over Star Trek. Not that it's heresy, but I 
still feel Lost in Space and Giants outdid 
Trek as far as the human element was con- 
cerned." 



Pre-planning was essential since Giants relied on various set-ups that required 
composite work. Some mattes from "Manhunt" would be reused in Jack Turley's 
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"Wanda and I never had a desire to 
write for Star Trek.'' says Robert Duncan. 
"When I was teaching a TV writing course 
at the University of California-Irvine, one 
of my students, Judy Burns, submitted a 
script to Star Trek called "The Tholian 
Web,'- which I thought was exceptional. It 
was rejected by the producers. When our 
friend Fred Freiberger took over as Star 
Trek's producer [in the third year], I asked 
him to read Judy's script. He did and he 
bought it." 

Admits Stan Silverman, "Most TV 
science fiction fails to thrill me. I liked 
many of the original Twiligkit Zones, 
especially those that reflected today's 
ethical and moral dilemmas, a character- 
istic of the best SF I've read. Star Trek 
delighted me consistently, thanks to the 
creative talent and careful supervision of 
its creator. Gene Roddenberry. It had a 
superb cast and almost always believable 
plots." 

"Bob and Gene Roddenberry were 
friendly back in the 1950s when they had 
the same agent," recalls Mitchell. "I liked 
and admired Gene, but Bob and I never 
got around to writing for Star Trek. I liked 
Giants better because it emphasized 
human involvement while Trek spent more 
time on machinery. FX and the problems 
of planets and nations. It was less personal. 
They also had "mushy' love stories!" 

Which brings up a question: The little 
folk were stranded on the giants' planet for 
two years; why didn't the men and women 
develop serious relationships with each 
other? "What do you mean by 'serious 
relationships?" "" counters Esther Mitchell. 
"Any one of those people would have laid 
down his or his life for the other. How 
serious can you get? Oh, of course! You 
mean romance," she kids playfully. "In 
going for gung-ho adventure, the inclusion 
of romance was a good way to slow the 
story down. it"s possible the early evening 
time slot and the network also dictated. 
'No romance." 

"Land of tlie Giants was pure 
escapism,"" she continues. '"We didn"t write 
it for children, it was a show that covered 
all ages. People loved to lose themselves in 
that fantastic land, rooting for the lovable 
little people and sharing in their giant 
adventures. Viewers were never hammered 
by messages, never made ill by offensive 
violence, never bored or caused to squirm 
by unwanted sexual scenes. You can"t beat 
that."' 

Loose Ends 

Most of the writers of Giants are still 

active. Some, like Mann Rubin, have cut 

(continued on page 70) 

STARLOG/Novemlyer 1990 69 



Guillermin 



(continued from page 61} 

another remake of the remake." 

King Kong Lives was filmed in De 
Laurentiis Studios in Wilmington, North 
Carolina. "We also did some location work 
which we integrated with the process 
shots. But that's a technical thing. The au- 
dience is not concerned with that. All 
they're concerned with is whether the film 
works for them or not." 

Obviously, it didn't. King Kong Lives 
was a box office disaster. "Dino was strik- 
ing out on all sorts of things at the time. 
It's really too bad. He was involved with 
some interesting projects." 

Lord of the Elephants 

Guillermin had already struck out com- 
mercially with 1984's ill-fated Sheena. 

"Unlike the Kong films, Sheena for me 
had some great possibilities." laments the 
director. "1 saw the character of Sheena as 
sort of an ethereal person. It would have 
made the film more of a fairy tale. But, of 
course, it didn't quite go that route." 

David (Superman) Newman initially 
worked on the Sheena screenplay and 
Lorenzo Semple Jr. later revised it. Then, 
it went through a great many front office 
decisions at Columbia. 

An elaborate jungle set was built by the 
studio in order to run screen tests. 
Reportedly in the running for the part of 
Sheena were Sandahl Bergman, Cheryl 
Ladd and Christie Brinkley, among others. 
Then, Tanya Roberts auditioned on the 
Fantasy Island-slyie set. After some de- 
liberation by the producers and director, 
Roberts won the title role. She even dyed 
her dark hair blonde and went on an inten- 
sive training program to firm up her 
shapely figure. 

The movie was made on location in 
Kenya. "We shot scenes that were very 
real," boasts Guillermin. "We also shot 
amongst a herd of 500 wild elephants. We 
were only 30 to 40 feet away from them." 

In addition to the elephants, there were 
rampaging rhinos, ferocious lions and a 
flock of flamingos that attack a heli- 
copter. 

"It's not a picture that I'm ashamed of 
in any way," he exclaims. "I did some 
work in Sheena that I feel good about. 
Unfortunately, the film wasn't a success. It 
was not well-received. There were things 
that went wrong on the picture. But I don't 
want to dwell on them." 

In his 40-year film career, Guillermin 
has racked up some impressive credits. He 
was even offered a Bond film to direct. 
"Cubby [producer Albert R. Broccoli] 
wanted me to do one, but I just didn't feel 
right about it." 

Luckily, he still feels good about mak- 
ing movies. "You know, there's really 
nothing like an exciting film on a big 
screen," John Guillermin pauses. 
"Hopefully. I've made a few in my career." 

70 STARLOG/Novemher 1990 



Giants 



(continued from page 69) 

back on TV scripting. "Today, studio and 
network people feel they have to tamper 
with scripts," he says. "The result has been 
totally disruptive. When I see a teleplay 
I've written, it has been changed so much 
there's no sense of pride or linkage with 
the end product. In Hollywood, the writer 
is the low man on the totem pole. I've 
turned to writing novels; the editors give 
you more respect." 

"There are too many cooks in the 
kitchen," agrees Sheldon Stark, who wrote 
the first televised commercial play (in 
1945). Throughout the 1960s, Stark wrote 
for such shows as Batman, Rat Patrol, 
Edge of Night and The Fugitive. His recent 
credits include The Waltons and High 
Mountain Rangers. "Technically, it's so 
much better today," the writer observes, 
"but we had better themes and none of 
these car chases. There was an integrity to 
the work." 

One of the Mitchells' more recent col- 
laborations was on a 1981 Buck Rogers 
segment. "It was exhilarating working with 
[executive producer] John Mantley. He was 
so delighted with our first script, 'Journey 
to Oasis,' that he had us expand it to a 
two-hour episode. He called us at home 
that night after reading the first draft and 
he was very enthusiastic. However, his 
supervising producer, Calvin Clements, was 
as heavy-handed and dull as John was 
subtle and imaginative." Clements' 
influence destroyed the story in Esther 
Mitchell's opinion. "I have never been as 
disappointed as I was in the production, 
direction and guest cast of that show. I 
have yet to be able to watch it all the way 
through." 

After Giants, Robert and Wanda 
Duncan wrote for the short-lived The 
Immortal series before leaving Hollywood 
in 1970. "Wanda has retired from 
writing," says Duncan. "I'll have a new 
novel out this year. The Serpent's Mark." 
Under the name James Hall Roberts, 
Duncan was nominated for a Hugo in the 
1960s for his novel The Burning Sky. The 
Duncans recently celebrated their 40th 
wedding anniversary. 

"I'm glad I don't have to compete in 
the TV rat race anymore," sighs Robert 
Lees, who got his start writing MGM 
shorts. Lees' script credits include feature 
films for Abbott and Costello, Martin and 
Lewis and Olsen and Johnson. "I look back 
on those days with some nostalgia, but 
trying to earn a living for my family as a 
freelance writer was something of a 
nightmare." 

"Agents don't want TV writers who are 
over 40, it's called ageism," states Ellis St. 
Joseph, "and there is an element of truth 
in it. To be a TV writer, you must be as 
strong as a soldier because you're up day 
and night writing or rewriting. Most 
writers over 40 can't take it. Agents also 



feel that older writers don't understand the 
world of today. It's a very tough business, 
and unless you're very successful, your 
phone doesn't ring. I made it work for me 
for a long time and I would very much like 
to write for TV again, but the only series 
that half interested me was Beauty & the 
Beast." St. Joseph, who scripted one of the 
most popular episodes of The Outer Limits 
("The Sixth Finger"), has just completed a 
novel. 

Jack Turley turned to daytime TV and 
garnered an Emmy nomination for 
General Hospital in 1983. "I'm still writ- 
ing for General Hospital," says Turley. 
"I've retired from the grinding TV scene of 
Hollywood. Oh, thank God for small 
favors!" 

Richard Shapiro scripted the acclaimed 
TV movie Sarah T — Portrait of a Teenage 
Alcoholic (1975) before creating (with wife 
Esther) Dynasty and The Colhvs in the 
1980s. 

Stan Silverman, who began his career 
in radio drama for CBS, and served as 
head writer for Flipper and Sea Hunt, re- 
cently co-authored (with Budd Schulberg) 
a successful stage version of Schulberg's 
1954 screenplay On the Waterfront. 

Shirl Hendryx and Oliver Crawford, 
both veteran writers with hundreds of 
writing credits, are still working. Gilbert 
Ralston retired from TV writing several 
years ago. 

Paul Zastupnevich, who started working 
for Irwin Allen on The Big Circus (1959), 
recalls it was only to be a temporary job, 
but "after that, whenever something came 
up, Irwin gave me a call." As assistant to 
Allen in the 1960s, Zastupnevich not only 
created the human (and monster) 
costumes for Allen's SF programs, he also 
viewed film rushes and read through 
scripts. A multiple Oscar nominee (for his 
costume designs in such films as The 
Poseidon Adventure), Zastupnevich 
recently created the dazzling outfits for 
Allen's 1985 mini-series Alice in 
Wonderland. "I still come out of the 
woodwork whenever something interesting 
comes up," says Zastupnevich. 

Irwin Allen went on to become the 
"Master of Disaster" in the 1970s with The 
Poseidon Adventure (1972), The Towering 
Inferno (1974) and others. His last 
production to date was the highly 
acclaimed TV movie Outrage (1986). 

Anthony Wilson died several years ago. 
Richard McDonagh died in 1975. Several 
other Giants writers have also passed on, 
including William Stuart, Dan UUman, 
Jerry Thomas and Peter Packer. 

Richard Shapiro sums up the most 
identifiable reaction when asked to share 
memories of writing for Land of the 
Giants 20 years later. "It has been a long 
time since I have thought about the series," 
he admits, "but my memories of the show 
are all good. It turned out to be a special 
experience. I didn't even know the show 
was in reruns. I'm going to be looking for 
it!" ^ 




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STARLOG/Novemher 1990 71 




Epi-Log Fanzine 



THE TV MAGAZINE OF THE FUTURE! 

Each issue of ihis fan-produced magazine feamres 
around 80 pages packed full of photos (some in full 
color) and episode guide reviews of sci-fi, fantasy, 
horror, suspense, and adventure TV series! Each issue 
is only $4.95 -i- $1.00 for postage (see address below). 

Issue #1: Features Sur Trek: The Next Generation 
seasOTs 1 -3, Sur Trek, Star Trek Animated, The Phoe- 
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Invaders, The Stadost, Automan, Buck Rogers, Other 
world. Planet of the Apes, Voyagers, Knight Rider 

Issue #2: Features Beauty and the Beast, Lest in Space, 

Land of the Giants, The Time Tunnel, Swiss Family 
Robinson, Voyage to the Bottom of the Sea, Return of 
Capuin Nemo, Battlestar Galactica, Galactica: 1980 

Issue #3: Available Oct. 1990. The Night Sulker, 
Thriller, The Outer Limits, Night Gallery, The Twi- 
light Zone, New Twilight Zone, One Step Beyond 

Issue #4: available Jan. 1991. The Wild Wild West, A 
Man Called Sloan, Salvage One, Starman, Tales of the 
Gold Monkey, War of the Worlds, The Immortal, Out- 
laws, Bring 'Em Back Alive, Blue Thunder, Airwolf, 
Man From Atlantis 

Issue #S: Available March 1991. Get Smart, The Man 
From Uncle, The Girl From Uncle, The Prisoner, Secret 
Agent, Danger Man, The Champions, The Avengers, 
The New Avengers, The Professionals, Honey West 

Issue #6: Available May 1991, superhero special! 
Features: Spidemian, Wonder Woman, Batman, The 
Green Hornet, Superman, Captain Nice, Mr. Terrific, 
Greatest American Hero, Captain Power, Wizards and 
Warriors, The Incredible Hulk 



84 page Collectable Catalog 

Includes Next Generation and Star Trek classic/ 
movies. Beauty and the Beast, Robocop, Dr. 
Who, Lost in Space, Space 1999, Galactica, 
UFO (and other Anderson shows), Outer Lim- 
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Starman, Batman, WUd Wild West, Dark Shad- 
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Aliens, WarA*6rlds, Blakes 7, Prisoner, Twi 
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buttons, scripts, photos, models, posters, rec 
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Dunlap, TN 37327 



Star Tech 



nmnH THE mii06E 



Spectacle in the Sky 

The first time 1 saw a solar eclipse was March 7, 1970. on the rooftop of the 
airport in Norfolk. Virginia. My friend. John Waldrop. was responsible. No. he 
was not responsible for the eclipse itself, but he was the reason 1 was on that 
rooftop, that day. at exactly the right time to observe the greatest spectacle I had ever 
seen in the sky. My friend David Houston (STARLOG's first editor) was also on that 
rooftop, and later he called the eclipse "the most awesome dramatization of the 
machinery of the solar system." 

A solar eclip.se occurs when the Moon passes directly between the Sun and the 
Earth, creating a cone-shaped shadow, the point of which (only a few miles wide) 
sweeps across our planet's surface. For those fortunate enough to be in the right place, 
at the right time, it"s a sight which is impossible to capture with photos and an 
experience which is impossible to describe. 

John tried to describe the experience to us. for he had seen previous eclipses and 
was a dedicated eclipse chaser. Chase is truly the right term. Often, solar eclipses can 
be seen only in remote, hard-to-reach parts of the planet. Often, the shadow of the 
Moon zips across oceans, barely touching land. Often, cloudy weather prevents 
viewing along most of the path of totality. 

The more John explained the problems of viewing an eclipse, the less I was 
interested. After all. totality (when the Sun is completely covered hy the Moon, and 
direct, unfiltered observation is safe) is too brief. I had to wonder whether the expense 
and trouble of a trip to Norfolk was worth less than three minutes of darkness. 

It was! Eventually. John persuaded David and me to go. and I too was turned into 
an eclipse chaser. I have seen two eclipses since then, both aboard chartered cruise 
ships in the mid-Atlantic (see "From Fear to Fascination." STARLOG #62 and 
"Rendezvous With Clarke." #77). and I'm planning to see the eclipse of July II. 1991. 

Sky & Telescope magazine describes this as "The Big One" because it is "the 
longest total eclipse until 2132. Probably more people will travel long distances... than 
ever before. Astronomical Woodstocks can be anticipated..." 

The U.S. Naval Observatory map shows the path of totality as striking the Earth in 
the North Pacific, passing directly over the "big island" of Hawaii, touching the 
southern tip gf Baja California, sweeping down the west coast of Mexico, through 
Central America, and leaving the Earth somewhere in Brazil. Hawaii is considered by 
many to be the most desirable viewing site because of likely clear skies (although it is 
an early-morning event, low in the sky and nor maximum duration). John Waldrop 
made hotel reservations on Hawaii a year ago. and by now, every room on the island 
has been booked. 

1 will see the eclipse from the next favorite site — the tip of the Baja peninsula (less 
chance of clear skies but a higher and longer event). I have located a tiny village on 
the center line of totality — Los Inocente.s — reachable only by a route which my map 
describes as one step beneath "dirt road." I will lead a small band of adventuresome 
friends via large car through central Mexico, small plane to Baja and probably 
donkeys to Los Inocentes. It will be a difficult journey, but I am hopeful that our 
reward will be 6 minutes. 56 .seconds of starry skies (two seconds short of the 
maximum possible on Earth), almost precisely at high noon. 

If you would like a copy of U. S. Naval Observatory information on the Total Solar 
Eclipse of July 11. 1991. write: Eclipse Circulars, U.S. Naval Observatory, Washington. 
DC 20392-5100. and ask for Circular No. 174. It's free. 

Not up to an eclipse trek? You can stay home and observe two associated lunar 
eclipses: June 27 and July 26. 1991. These can be seen by everyone on the night side of 
Earth, since we are not in a shadow but casting our giant shadow on the Moon. The 
next solar eclipses are: June 30. 1992 in the South Atlantic (5.5 minutes) and 
November 3. 1994 in the Pacific (4.5 minutes). 

If we have clear skies at noon in Los inocentes. we will watch the world slowly dim, 
for about two hours — then the dazzling "diamond ring effect" as the last limb of the 
Sun vanishes with a flash — and the white corona sprays out from behind the blackest 
circle you can imagine. We'll see Mercury. Venus. Mars and Jupiter grouped high in 
the sky. surrounded by major stars and constellations. The distant horizon, outside the 
shadow cone, will be bright daytime blending into crimson, purple and ebony. Birds 
will roost, animals will bellow in confusion, and the ignorant and superstitious will fall 
to their knees in terror, as they have throughout history. 

1 will stand transfixed, thrilled by the drama and moved by the knowledge that our 
race is capable of calculating the movements of the cosmos — to the second, almost to 
the inch — years in advance, so that thousands of happy observers can be there for the 
show. That, to me. is the greatest spectacle. 

— Kerry O'Quinn 




TEENAGE MUTANT 

NINJA TURTLES Raphael Mask 



What has a shell, 

wears a red 

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loves April, is 

hot-headed, 

sarcastic 

and 

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irs RAPHAEL 

Now you 

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STARLOG PRESS 

475 PARK AVENUE SOUTH 

NEW YORK, NY 10016 

TEENAGE MUTANT NINJA TURTLES 

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Please indicate quantity of masks being ordered. 

To cover postage and handling, add $4.00 for 

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Total enclosed: 




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NAME 



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CITY 



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IF YOU DO NOT WANT TO CUT OUT COUPON, 
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Please allow 4 to 6 weeks for delivery. 



LINER nous 




agazines, as I've said before, are the perfect Christmas 
gift for friends and family. Why? Because they keep 
on coming — every month or whatever, a new issue 
arrives in the mailbox — a gift "To Be Continued""for a year. 
Now' s the time to order such presents to allow several weeks for 
subscription processing. 

Naturally. I would like you to consider giving gift subs to the 
magazines I edit — the monthly STARLOG (12 issues/year, 
$34.47), the bi-monthly COMICS SCENE (six/year, $17.99)— 
as well as their sister publications devoted to horror, the 
venerable FANGORIA (10/year, S24.47) and the now quarterly 
GOREZONE (four/year. SI 1.99). For all the nitty-gritty info 
about subscribing, see the opposite page. 

However, I'm a self-confessed magazine addict, subscribing 
to more than 30 different ones myself. I mentioned a dozen of 
them back in STARLOG #137. Here are several more, none 
published by the Starlog Group, all perfect for gift giving. 

Initially, I became interested in Military History (S2.95) and 
World War II ($2.95) because STARLOG correspondent Eric 
Niderost, a history professor, writes for both publications. WWII 
will have an expanding visibility here in America over the next 
five years as the media (and everyone else) commemorates that 
horrible conflict's 50th anniversary. I find World War II the 
magazine (six/year, S14.95; WW II. P.O. Box 375, Mt. Morris, IL 
61054-7962) which explores the event from every possible 
angle, endlessly fascinating. 

Likewise, Military History (six/year, S14.95: Military History. 
P.O. Box 385, Mt. Morris, IL 61054-7941) intrigues with every 
issue. This publication isn't limited to just one war. Its 
authoritative anicles examine campaigns, battles and elements 
(like weaponry, personality, tactics) of all conflicts. The 
constant variety, not to mention mankind's amazing ability to 
devise new ways of death, make for quite a lively magazine. 

Digging up the past is also the theme of Archeology (S3. 95; 
six/year. $19.97: Archeology. Subscription Service. P.O. Box 
50260, Boulder. CO 80321-0260). Here's a pop science 
publication for those of us interested in bones and ruins — and 
what SF fan isn't as captivated by the past as by the future? 
Well, no dinosaurs here (that would be Paleontology or 
something like it) but plenty of other interesting topics: the 
women of Pompeii, Aztec art. Egyptomania, Machu Picchu, 
Thailand's fabled city of Sukhothai and lots more. 

Then, there's Natural History (S2.50: 12/year. S22. S19 if you 
send payment with order: Natural History. Membership Service. 
P.O. Box 3030. Harlan, lA 51593-4091). It's a publication 
much like Smithsonian (another favorite, see STARLOG 
#137) and quite exhaustive in its coverage of animals, plants 
and natural history concerns. Recent articles have examined 
Mount St. Helens, European parks. Koala bears, waste recycling, 
the albatross and woolly mammoths. My favorite feature is the 
continuing column by Natural History superstar Stephen Jay 
Gould (a Harvard professor whose essays have been collected in 
such books as The Panda' s Thumb and Hen's Teeth and 
Horse's Toes). His words are always worth reading. 

Spy ($2.95; 12/year, $14.95: Spy. P.O. Box 51626, Boulder. 
CO 80321-1626), of course, is the trendy New York-oriented 
magazine satirizes the news without (evidently) making 
anything up, demonstrating that exaggerated truth is stranger 
(and funnier) than fiction. Spy dissects such institutions as high 
society. The New York Times, book publishing and of course, 
Hollywood (Dino De Laurentiis and awful moviemaking. Dick 




Check your local newsstand or bookstore, says Dave 
McDonnell (here at the DIsney/MGM Studios stand), for 
samples and give magazine subscriptions this Christmas. 

Tracy's marketing, the power of film critics such as Roger Ebert 
& Gene Siskel). There's so much to every issue — some printed 
in teeny-tiny type — that there's certain to be something to 
shock you as well as make you laugh. Like for example. 5/n's 
most popular feature which not long ago proved, with 
photographic evidence, that one set of long-lost twins 
"Separated at Birth" are The Joker.. .and Leona Helmsley. 

Movieline (S2) is a rather new film magazine with a flip but 
fun viewpoint, what .some of my friends may call an "LA 
attitude." Recent issues have spotlighted interviews with Sean 
Young (controversially candid), screenwriter Michael 
(Scrooged) O'Donoghue, Chevy Chase, writer Ernest (North by 
Northwest) Lehman and Arnold Schwarzenegger as well as 
features on movie poster collecting, actors-tumed-terrible- 
directors and top writers' favorite screenplays. By the way. 
subscriptions are rather inexpensive (12/year: S12 charter sub 
offer; Movieline. 1 141 S. Beverly Drive, LA, CA 90099-2024). 
Movieline is only a year old. but 1 can tell you it's going places. 

On the Mickey Mouse beat, there are two magazines 
published by the Disney Company that I always find charming. 
The Disney Channel Magazine, naturally, focuses on that 
paycable service's programming with listings and behind-the- 
scenes looks at such fare as one of my favorites. Who Framed 
Roger Rabbit. However, subs for the bi-monthly are 
complicated (six/year, $12 if you don't get the Disney Channel 
on your cable TV hook-up but do want the magazine or if you 
buy the cable service, it's $6 or free, depending on your local 
cable company; The Disney Channel Magazine. 3800 West 
Alameda Avenue, Burbank. CA 91505). 

Disney News ($2.50) casts a wider net from cartoon classics 
to theme parks with recent features on animation eel collecting. 
The Little Mermaid. Disneyland designs and Dick Tracy and 
interviews with Carol Burnett and the late Jim Henson. 
Published for 25 years, the quarterly Disney News is a great 
deal of fun. One-year subs aren't available: instead, it's a two- 
year sub ($14.95. eight issues/two years: Disney News. P.O. Box 
33 1 0. Anaheim. CA 92803-33 1 0)'. 

Note: Other rates apply for foreign and in some cases, 
Canadian subscriptions (as well as for two-year or frequently, 
multi-gift subs). Single sample copies are available by mail, 
mostly, for the cover price (listed in parentheses) plus 500 or 
75e postage. Or check your local newsstand for individual 
issues — and do consider magazine subscriptions as Christmas 
gifts. I certainly do. 

—David McDonnell/Editor (August 1990} 



The future in STARLOG: Hurd HatHeld poses. He's the very Picture of Dorian Gray.LeVar Burton. VISOR off. 
takes a long look at his days in The Next Generation. ..Jane Wyatt remembers a magical place known as Shangri-La, 
somewhere beyond the Lost Horizon. ..Don Matheson visits from a Land of the Giants... Richard Denning pauses 
with The Creature from the Black Lagoon. ..and Suzy Plakson confesses. She's just a Klingon in love. Look to the 
future in STARLOG #161, on sale Thursday, November 1, 1990. 



NEW WORLDS OF 
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